enterprise requires a color language in order to expand ... · monsanto chemical company....

ED 026 831Identification of Colors for Building.Building Research Inst., Inc., Washington, D.C.Report No-BRI-PUB-1001Pub Date 62Note-73p. Report of a program held as a part of the BRI 1961 Fall Conference.Available from-Executive Vice President, Building Research Institute, 1725 DeSaies Street, N.W., Washington,D. C. ($6.00)

EDRS Price MF-$0.50 HC-$3.75Descriptors-Architecture, *Buildings, Building Trades, *Color Planning, Communication Problems, Coordination,Environmental Influences, *Environmental Research, Graphic Arts, *Identification, Merchandising, ScientificPrinciples, *Specifications, Standards

A demonstration of how colors may be specified for use by all those trades andprofessions involved in building science. This is of vital importance in furthering theuse of color, not only in structures bvt in every other aspect of our daily usage. Freeenterprise requires a color language in order to expand the use of color, and toallow for specified tolerances and variations which can be established on a scientificbasis. Presented are the results of studies which suggest, not only to the buildingindustry but to all those who use color, a simple, comprehensive method of coloridentification. Topics discussed include--(1) color identification based on color order,(2) problems of color identification, (3) color identification for the building industry,(4) color in architecture, (5) the problem of color communication, (6) merchandisingthrough color, (7) a plea for color coordination, and (8) color in interior design. (RK)

DOCUMENT RESUMEEF 002 625

Building Research Institute

Board of Directors1962-63

OFFICERS

President andChairman of Executive Committee

LEON CHATELAIN, JR. FAIAChatelain, Gauger & Nolan

Vice President andVice Chairman of Executive Committee

OTTO L. NELSON, JR.Vice President for Housing

New York Life Insurance Company

Vice PresidentPETER B. GORDON

Vice PresidentWolff and Munier, Inc.

SecretaryMILTON C. COON, JR.

Executive Vice PresidentBuilding Research Institute

MEMBERS OF THE BOARD

PAUL R. ACHENBACHChief, Mechanical Systems SectionNational Bureau of StandardsGLENN H. BEYERDirector, Center for Housing

& Environmental StudiesCornell UniversityALAN E. BROCKBANKPresidentCommunity Construction CorporationJOHN T. BURWELL, JR.Director of ResearchAmerican Radiator &

Standard Sanitary CorporationN. S. COLLYERPresidentF. H. Sparks Company, Inc.ROBERT W. CUTLERPartnerSkidmore, Owings & MerrillALBERT G. H. DturzProfessorMassachusetts Institute of TechnologyGEORGE P. DORRANCEDirector of Technical ServicesTurner Construction CompanyJ. E. GASTONTechnical ConsultantBuilding Materials ResearchArmstrong Cork CompanyMICHAEL F. X. GIGLIOTTIAsst. Director of EngineeringPlastics DivisionMonsanto Chemical Company

TreasurerGRAYSON GILL

PresidentGrayson Gill, Inc.

HOWARD C. HARDYConsultant in AcousticsHoward C. Hardy & Associates

JOHN M. KYLEChief EngineerPort of New York AuthorityHENRY L. LOGANVice President for ResearchHolophane Company, Inc.

T. F. OLTVice President, Research

& TechnologyArmco Steel Corpordtion

HOWARD E. PHILLIPSSuperintendent, Special Studies

Plant Design & ConstructionDivision

Western Electric CompanyPERRY I. PRENTICEVice President, TIME, Inc.WALTER SANDERSChairman, Dept. of ArchitectureUniversity of MichiganR. J. SHORTDirector, Engineering ExploratioProcter & Gamble CompanyD. KENNETH SARGENTDean, School of ArchitectureSyracuse UniversityHARRY ROSS YOUNGMarket Development SuperviscE. I. duPont de Nemours

and Company, Inc.

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U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE

OFFICE OF EDUCATION

THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE

PERSON OR ORGANIZATION ORIGINATING IT, POINTS OF VIEW OR OPINIONS

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THE COPYRIGHT OWNER."

IDENTIFICATION OF COLORS FOR BUILDING

Copyright 1962 by the Building Research Institute, Inc.

The opinions and conclusions expressed in this book are thoseof the individual contributors and are not necessarily those ofthe Building Research Institute.

Library of Congress Catalog Number: 62-64826PRICE: $6.00

FOR YOUR INFORMATION

Inquiries concerning Identification of Colors for Building orother publications resulting from the BRI 1961 Fall Con-ferences may be directed to the Building Research Institute,1725 De Sales Street, N.W., Washington 6, D. C. The otherpublications are :

Design for the Nuclear Age, No. 992Prefinishing of Exterior Building Components, No. 993Methods of Building Cost Analysis, No. 1002Mechanical Fasteners for Wood, No. 1003Performance of Plastics in Building, No. 1004

ACKNOWLEDGMENT

The Building Research Institute gratefully acknowledges thecontributions to building science made by the participants inthe program on Identification of Colors for Building.

MILTON C. COON,Executive Vice President

A

Contents

PageINTRODUCTION

Milo D. Folley, Sargent-Webster-Crenshaw &Folley, Architects & Engineers 1

COLOR IDENTIFICATION BASED ON COLOR ORDERBlanche R. Bellamy, Munsell Color Company, Inc. . . . . 3

PROBLEMS OF COLOR IDENTIFICATIONKenneth L. Kelly, National Bureau of Standards 12

COLOR IDENTIFICATION FOR THE BUILDING INDUSTRYEverett R. Call, Call Marketing Services, Inc 20

PANEL DISCUSSION

Introduction --Richard N. Jones,LIFE Magazine; Panel Moderator 28

Color in Architecture --Waldron FauLcner,FaulknEr, Kingsbury & Stenhouse,Architects 29

The Problem of Color Communication -- Henry D.Bixby, Central Commercial Company 32

Merchandising Through Color Beatrice West,Beatrice West Color, Inc 34

A Plea for Color Coordination -- Jerome Miller,Long Island Home Builders Institute, Inc 39

Color in Interior Design -- Gladys Miller,New Homes Guide and Home Modernizing Guide . 40

OPEN FORUM DISCUSSIONModerator: Richard N. Jones, LIFE Magazine 44

APPENDIXExpression of Historical Usage --Interim Report ofthe ISCC Subcommittee on Problem 23 49

BRI PUBLICATIONS 65

1961-62BRI PROGRAMS DIVISION II

--BUILDING DESIGN

Milo D. FolleyParer-in-Charge of Design & Research

Sargent-Webster-Crenshaw & Folley,Architects & Engineers

Gifford H. AlbrightHead, Department of

Architectural EngineeringPennsylvania State University

Richard W. BletzackerDirector, Building Research

LaboratoryEngineering Experiment StationOhio state University

Charles A. BogertAssistant Superintendent,

Special StudiesPlant Design & Construction

DivisionWestern Electric Company, Inc.

F. Lee CochranPartner, Perkins & Will,

Architects

Allen F. DillResearch Associate, Department

of Civil EngineeringUniversity of Illinois

J. W. GriffithProfessor, School of

EngineeringSouthern Methodiet University

W. S. Kinne, Jr.Deputy Director, Planning and

ConstructionUniversity of Wisconsin

Walter SandersChairman, Department

of ArchitectureCollege of Architecture

and DesignUniversity of Michigan

Robert S. Van KeurenProfessor, School of

ArchitectureSyracuse University

B. G. WattersEngineerBolt, Beranek and

Newman, Inc.

.00

Introduction

By Milo D. Folley, Sargent-Webster-Crenshaw & Folley

COLOR IS IMPORTANT to ever3 one associated with the buildingindustry. Nothing is more effective in gaining acceptance for theproducts of the building industry than color, and nothing is morepersonal than color. This variance results in a multitude ofindividual opinions and preferences which affect the use of color.

Several years ago at a BRI conference, I asked a member ofthe paint industry why they did not standardize their colors onan industry-wide basis. I received a very cool reply indicatingthat specially developed colors were the stock in trade of eachproducer, and no standardization would be acceptable. As anarchitect, I found this attitude toward such a positive subject tobe a deterrent to proper specification, and a hazard to fair biddingpractices. I understand why an exotic color name such as FrenchNude could inspire the purchase of a certain brand of paint, buthow can I, as an architect, specify such a proprietary namewhen only one company lists this color?

As a result of this original interest, I became a memberof the Inter-Society Color Council. In this group, I found a serious,dedicated membership studying problems of color. One groupin particular was involved in a program concerning the "his-torical usage of color." They had analyzed the history of variouscolor systems, and had found that the Munsell notations could beused as a common denominator and be considered as a universalcolor language.

The ISCC is composed of 27 national socieVes and trade as-sociations, and more than 700 individual members. The aims andpurposes of the Council are to stimulate and coordinate the workbeing done by the various societies, organizations, and associ-ations leading to standardization, description and specification ofcolor, and to promote the practical application of the results tothe color problems arising in science.

Standardization of a method of color identification appearsto be the reasonable solution to problems of industry coordinationof color usage. This does not mean standardization of colors. It

FOLLEY, MILO D. Partner in Charge of Research, Sargent-Webster-Crenshaw & Folley, Architects & Engineers; member,American Institute of Architects, BRI, Inter-Society Color Council.

1

2 ID NTIFICATION OF COLORS FOR BUILDING

means only a proposed agreement on which to base our identifi-cation of colors.

In the presentation of the following papers, we hope to demon-strate how colors may be specified for use by all those tradesand professions involved in building science. This will be of vitalimportance in furthering the use of color, not only in structuresbut in every other aspect of our daily usage. We have viewedattempts to standardize on a particular palette of colors, but wefeel that this is not compatible with the American concept of com-petition for the market. If one manufacturer desires to copyrightthe name of a color, or if he wishes to formulate a particulargroup of muted paint tones, he is free to do so. He need onlyiden ify his colors by an agreed method, and those who mustmatch or contrast them can do so by referring to the specification.

Free enterprise requires a color language in order to expandthe use of color, and to allow for specified tolerances and vari-ations which can be established on a scientific basis. We presentherewith the results of studies which suggest, not only to the build-.ing industry but to all those who use color, a simple, compre-hensive method of color identification.

"'"ig-`4.4

4Color Identification

Based on Color Order

By Blanche R. Bellamy, Munsell Color Company, Inc.

Abstract: The Munsell method of color identification presented in thispaper is a basic part of a standard method now quite widely used, and isalso proposed for consideration by the building industry. Accurate colordesignations for the appearance of all surface-reflecting specimens may bedetermined through its use. Some applications of the method are described.

THE METHOD OF COLOR NOTATION presented in this paper is abasic part of a standard method of color identification proposedfor consideration of the building industry. It is simple in concept.Accurate color designations for the appearance of all surface-reflecting specimens may be determined through its use.

This method was developed at the turn of the century by Pro-fessor A. H. Munsell. It is known as the Munsell system of colornotation (18). In developing a method for specifying color, Pro-fessor MunseIl had two ideas in mind. First, a color notationshould indicate the color of an object as perceived by the ob-server. Second, the notation assigned to the color of the objectshould be based upon an accurately reproducible method of colormeasurement.

How well he succeeded is evidenced by the fact that his notationis used all over the world in the fields of science, art and industry(1, 2, 3, 4, 5, 7, 8, 13, 14, 13, 22). In fact, his concept has so in-trigued the color scientist, that references to papers coveringstudies and applications of the notation would fill a sizable volume.Suffice it to say that, in addition to numerous individual endeavors,two complete issues of the Journal of the Optical Society of Americahave been devoted to studies of the Munsell notation and repre-sentative samples (9, 10). Physical, psychophysical and psycho-logical data resulting from these studies provide the contemporarystandards used for accurate reproduction of the samples.

The American Society for Testing and Materials and the Japan-nese Standards Association have adopted the notation as a standardmethod for specifying colors. It is used by soil scientists, horti-culturists, and geologists, over the face of the earth, for classi-fying the colors of soils, plants and rocks. The British Standards

BELLAMY, BLANCHE R. Manager, Munsell Color Company, Inc.;member, Inter-Society Color Council and Optical Society ofAmerica.

3

^

4 IDENTIFICATION OF COLORS FOR BUILDING

Institution has used the notation for designating colors of buildingsand decorative paints. The Porcelain Enamel Institute uses thenotation for identifying enamels in architecture. Merriam-Webster' sThird New International Dictionary, published in 1961, includes theMunsell system in its excellent section on color.

The MAnsell method of color notation is based on the conceptthat the appearance of a color may be analyzed and described interms of three attributes. These are identified in the Munsellsystem as Hue, Value and Chroma. These three attributes arearranged in orderly scales of equal visual steps, so that eachattribute becomes a dimension or parameter, combining to forma space renresentation of color (Fig. 1). Under standard con-ditions of illuminating and viewing, these scales serve as an ac-curate instrument for color measurement of all surface-reflectingobjects.

Figure 1. Color space diagram.

Chromatic colors in the Munsell system are divided into fiveprincipal classes. These are given the-hue names of red, yellow,green, blue, and purple. A further division yields the hue namesyellow-red, green-yellow, blue-green, purple-blue, and red-purple.Hence, the hue notation of all chromatic colors indicates the re-lation to the ten major hues or any of their subdivisions.

Capitalized initials "R" for red, "YR" for yellow-red, etc., areused as symbols for the hue names. When finer subdivisions arerequired, the ten major hues may be divided into ten steps each(1R to 10R, 1YR to 10YR, etc.), thus increasing the hue notation toincrements of one hundred, or more if decimals are used (20; seeFig.2).

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The value notation indicates the degree of lightness of a colorin relation to a neutral gray scale. This scale extends from atheoretically pure black (at 0 light reflectance), symbolized as0/, to a theoretically pure white (at 100% light reflectance),symbolized as 10/. Neutral and chromatic colors that appearvisually half-way between pure black and pure white have a valuenotation of 5/. Lighter colors are indicated by numbers rangingabove 5/, while darker colors are indicated by numbers below 5/.

The chroma notation of a color indicates the strength (satu-ration) or degree of departure of a particular hue from a neutralof the same value. The scale of chroma extends from /0 for aneutral gray, out to /10, /12, /14, or further, depending upon

the strength or saturation of the individual color. A color classified


popularly as Royal Blue might have a chroma as strong as /10,while another color of the same hue and value, classified popularlyas Slate might have a chroma as weak as /2.

The complete Munsell notation for chromatic colors is writtenH V/C (5R 4/10) with a solidus separating the value and chromanumerals. For neutral colors the letter N replaces the hue symboland the chroma numeral is 0, or it may be omitted, thus: N 4/0or N 4/.

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It is apparent how the scales of hue, value, and chroma (Fig. 3)fit into the color space diagram shown in Figure 1. This spacerepresentation of color is frequently referred to as a "color solid,"and it includes every color that the eye can distinguish. A model ofthe Munsell color solid is illustrated in Figure 4. You will notethat the shape of the solid is not symmetrical. It conforms to, oris limited by, the chromas obtainable at each value level for eachhue. The "key," or most saturated, colors for the various huesdiffer in chromatic strength. These key colors, also, vary inlightness for the different hues, i.e., they are located at differentvalue levels, depending upon the particular hue.

Vertical, horizontal, or cylindrical slices through the colorsolid will reveal charts of constant hue, constant value and constantchroma, respectively. Through use of the slicing technique, onecan see how a color sample may be described in Munsell terms.If we make a vertical slice through the color solid, we might pullout an array of charted colors in which the neutral value scaleappears in a vertical column in the center, with value and chroma

1

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COLOR IDENTIFICATION AND COLOR ORDER

scales for the hues 5Y and 5PB arranged on the opposing sidisof the scales. The samples on each side of the neutral scale areof constant hue, but they vary in value and chroma. The notationof the sample in question is, by reference to the 5PB constanthue chart, 5PB 5/6 (Fig. 5, page 8).

Figure 4. Diagrammatic representation of the Mun-sell color space in solid form. Maximum chromasamples of each hue and value have their place on thesurface of such a model. Theoretically each pointinside the surface represents a different color, thecolors changing gradually from one to another ineach of the three attributes: hue, value, and chroma.

On the 5/ level of the 5PB chart there are also samples whichrepresent the color names of Royal Blue (at chroma /10) andSlate (at chroma /2) referred to previously. However, many ofthe samples in the area surrounding 5PB 5/2 might be given thepopular name Slate, and many of the samples in the area sur-rounding 5PB 5/10 might be classified as Royal Blue. The Munsellnotation provides an accurate designation for a particular samplein a popular color name area.

A horizontal slice through the color solid will reveal samplesall of the same lightness, but varying in value and chroma. A sliceat the 5/ value level shows the sample in question again to be5PB 5/6.

A cylindrical slice through the solid will reveal samples allof the same chroma. A slice at chroma /6, again, indicates the

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COLOR IDENTIFICATION AND COLOR ORDER 9

color of the sample to be 5PB 5/6. If a cut in the solid, regardlessof direction, passes through the sample in question, we will comeout with the same notation of the sample.

The eye can distinguish approximately 10 million differences incolor (21). Departures in any direction, no matter how small,from the samples displayed on charts representing the Munsellsystem, constitute another position in the color solid and thereforea different Munsell notation. A collection of charts showing vari-ations in value and chroma for at least 40 hues is required toidentify the notations of samples with this potential for variety (16).

Samples reflecting colors falling between those displayed onthe charts may be identified by interpolation between the notationsof the charted samples. Thus, a sample falling visually half-waybetween the hues 5PB and 7.5PB (a neighboring hue to 5PB inthe 40-hue series) has a hue notation of 6.25PB. If it is half-wayin lightness between value 5/ and value 6/, it has a value notationof 5.5/. If it is a quarter way in chroma between /6 and /8, ithas a chroma notation of /6.5. Thus, through the use of the decimalsystem, a Munsell notation for any surface-reflecting sample maybe obtained. Conversely, a Munsell notation for which no physicalsample exists may be specified.

A collection of charts displaying samples exposed by equallyspaced slices through the color solid, whether vertical, horizontal,cylindrical, or otherwise, provides a serviceable tool for identi-fying all colors (6).

A system of color notation, based on samples of equal visualspacing, provides an excellent method for recording color tol-erances (12). Color tolerance sets afford visual aids in judgingthe acceptability of a color match, and are quite popular in theindustrial and advertising fields (16).

The results of formulations for colorant mixture may be re-corded in Munsell terms. Thus, color standards for future formu-lations may be established. It is seldom that results from colorantmixture formulas obtain the exact color required. A knowledgeof color order is of considerable value indetermining the directionand proportion of alteration necessary to obtain the desired color.

A knowledge of color order and a notation based on that orderserve also, in the development and specification of pleasing and,if required, startling color designs.

There are other methods of describing color. There are othertools (or instruments) for measuring color, but for accuratespecification of the appearance of color, the Munsell is mostdirect. Through the use of the notation, color samples from anycollection, or color specifications from instrumental measurement,may be converted to a common language. The papers followingwill discuss how these methods, color samples, and results frominstrumental measurement may be related to color spaceand Munsell notation to provide a standard procedure for


solution of many problems of color identification in thebuilding industry.

SELECTED REFERENCES1. American Society for Testing and Materials. Specifying Color

by the Munsell System. ASTM Designation: D 1535 - 58T,1958.

2. Ball, Victoria K. The Art of Interior Design. (1st ed.) NewYork: MacMillan, 1960.

3. Birren, Faber. Creative Color. (1st ed.) New York: Reinhold,1961.

4. Bond, Fred. Color--How To See and Use It. San Francisco:Camera Craft Publishing Co., 1958.

5. British Standards Institution. Colours for Buildings and Deco-rative Paints. British Staniard 2660: 1955, London: the Insti-tution, 1955.

6. Foss, C. H. "Color order systems," Journal of the Society ofMotion Picture Engineers, 52: February 1949.

7. Graves M. The Art of Color and Design. (2nd ed.) New York:McGraw-Hill, 1951.

8. Japanese Standards Association. Specification of Colours Ac-cording to their Three Attributes. JIS Z 8721. Tokyo: theAssociation, 1958.

9. Journal of the Optical Society of America, issue of December1940. American Institute of Physics, New York.

10. Journal of the Optical Society of America, issue of July 1943.American Institute of Physics, New York.

11. Judd, D. B. "The Munsell Color System," Journal of theOptical Society of America, 30: December 1940.

12. Judd, D. B. Color in Business, Science and Inthastry. New York:Wiley, 1952.

13. Kelly, K. L., and Judd, D. B. The ISCC-NBS Method of De-signating Colors and a Dictionary of Color Names. NationalBureau of Standards Circular 553, Washington, D. C.: Supt.of Documents, GPO, 1955.

14. McCarthy, Frank. "Colour notation," Architecture Today.Victoria, Australia, September 1961.

15. Munsell, A. H. A Color Notation. Baltimore: Munsell ColorCompany, Inc. 1907, 1946, 1961.

16. Munsell Color Company, Inc. Munsell Book of Color. (currented.) Baltimore: the Company. Pocket, Opposite Hues, andCabinet Editions.

17. Munsell Color Company, Inc. Munsell Color Standards forPlastic Insulated Wire and Cable. (current ed.) Baltimore:the Company.

18. National Paint, Varnish & Lacquer Association. Color Survey.(annual) Washington, D. C.: the Association.

OW

COLOR IDENTIFICATION AND COLOR ORDER 11

19. Nickerson, Dorothy. "History of the Munsell Color Systemand its scientific application." Journal of the Optical Societyof America, 30: December 1940.

20. Nickerson, Dorothy. "Color and its description," Bulletin ofthe American Ceramic Society, 27: No. 2: February 15, 1948.

21. Nickerson, Dorothy, and Newhall, S. M. "Psychological colorsolid," Journal of the Optieal Society of America, 33: July1943.

22. Porcelain Enamel Institute. Color Guide for ArchitecturalPorcelain Enamel. Washington, D. C.: the Institute, 1958,1961.

Problems ofColor Identification

By Kenneth L. Kelly, National Bureau of StandardsAbstract: The ISCC-NBS method of designating colors is a systematicarrangement of color names, to which are assigned corresponding colors.The psychological color solid is divided into 267 blocks, each illustratedby a color representing its center, or centroid. Boundaries of the blocksare described in terms of well-known color-order systems. Thus, the ISCC-NBS system supplies a means of describing colors in simple terms, ofconverting from one color-order system to another, of determining syn-onyms and near synonyms among the color names, and coordinating dif-ferent degrees of fineness of color description and designation.

COLOR CAN BE DESCRIBED by the use of three dimensions, butwhat really is color? Color may be defined as a qualitative com-ponent of visual experience characterized by the attributes of hue,lightness, and saturation, but in certain cases having zero satu-ration and consequently no hue, i.e., a neutral such as a gray. Thelight reflected from or transmitted through objects which givesrise to this sensation, the portion of the whole electromagneticspectrum that you see, and that we call the visual spectrum, isonly a very small part in the middle. Toward longer wave lengths,we find the infrared or heat waves, then radar, television, andradio waves. Toward shorter wave lengths, we find the ultravioletwaves that sunburn, then X-rays, gamma, and finally cosmic rays.

Briefly, there are three ways in which a color may be identified,or described: by the use of words, by comparison with the coloredsamples of a color-order system, or by the numerical results ofa color measurement. Each of these has its uses. This paper willdiscuss them, and how they relate to each other.

Ever since the language of man began to develop, words orexpressions have been used first to indicate and then to describecolors. As the language developed, more and more color nameswere invented to describe the colors used in art and industry and,in late years, in the rapidly expanding field of sales promotion.Many fanciful color names came into vogue, such as French Nudeor Pearly Gates. Other color names were confusing, for how couldyou know that African Green was in reality a blue, or that Blue

KELLY, KENNETH L. Physicist (optics), Photometry and Colori-metry Section, National Bureau of Standards; member, AmericanAssociation for the Advancement of Science, Optical Society ofAmerica, Inter-Society Color Council.

12

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PROBLEMS OF COLOR IDENTIFICATION 13

Fox was a reddish gray? Different color vocabularies were de-veloped for use in different fields of color description.

As the designation of colors became more and more detailed,a number of color-order systems were developed, and it becamecustomary to assign color names to the individual samples in thesesystems. It was only natural that the same color name would notbe applied to exactly the same color in each of the color-ordersystems, and so these color names really came to describe rangesof color. This was fine for sales promotion, but was very confusingif one was trying to describe the color of a certain object, suchas a brick. There have been a number of color-order systemspublished through the years. I am going to mention only the fewwhich you may meet in your work, listing some of their advantagesand disadvantages.

The Munsell Book of Color (2, 6, 11, 14, 18, 19, 20, 21, 23, 27)contains about 1,000 colored samples, either mat or glossy, ar-ranged according to the Munsell scales of hue, value and chroma.Each sample on any one chart is intended to have the same hue;each sample in a row on any chart is intended to have the samelightness (Munsell term-value); and any sample in a particularcolumn is intended to have the same saturation (Munsell term-chroma). This is a true color-appearance system, in that the huesteps between successive charts have been selected to appeareven, as have the successive steps in the value scale, and thosein the chroma scale. Each sample is identified by three symbols,the first indicating Munsell hue, the second Munsell value, and thethird Munsell chroma.

This Munsell notation, because it is based on uniformly spacedscales of color, is amenable to interpolation and extrapolationamong the samples, and is useful in the solution of many problemsin industry. Used as a method of color appearance specification,this notation is quite as important as the colored samples. Itcan be, and in fact is, used by many who do not own a book ofsamples, since it can be used to describe the appearance of colorson other charts. The colored samples representingthis system havebeen measured spectrophotornetrically by a number of investiga-tors and are identified by Munsell notation, rather than by colornames. However, popular color names can be assigned to them, ifrequired, through the medium of the ISCC-NBS Dictionary of ColorNames, which will be discussed later.

The Dictionary of Color by Maerz and Paul (16) is a monu-mental work, and has been used extensively in the description andspecification of color. It contains 56 plates illustrating 7,056semi-glossy colored samples formed through the use of mixturesof eight chromatic and seven base gray pigments, accomplishedthrough the half-tone printing process. Due to the large number ofsamples, they are so close together in color that interpolation is

;

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usually unnecessary. The coverage of the halftone screen plateshas been so adjusted that the color steps between successivesamples are in general about equal. Each color is identified bythe number of the chart, a letter to indicate the column, and anumber to indicate the row. A dictionary of about 4,000 colornames keyed to the colored samples is included, along with muchinformation on the early history and development of the colornames. Munsell notations of the first 2,592 samples in the red toyellow colors were published by Nickerson (22) in 1947.

The Color Harmony Manual published by the Container Cor-poration of America (3, 4, 5, 10) is based on the color theory ofOstwald. It consists of 30 triangular charts, contains 943 coloredsamples, and is much used in the study of color harmony andcolor coordination in design. The samples are divided into chartsof constant dominant wavelength and into scales of constant blackcontent, constant white content, and constant full color. Each sampletakes the form of a 7/8 inch hexagon made by applying a mat-finishpigmented film to a clear, transparent sheet of cellulose acetate,one side of the sample thus being mat and the other glossy. Thesesamples have been measured on the spectrophotometer and theMunsell notation determined for both sides of the chips. A Descrip-tive Color Names Dictionary (28) keyed to these colored chipscontains the color names used to describe the color of generalmerchandise for the mass markets.

The Plochere Color System (24) was developed as an aid todecorators and interior painters, and for use in the selection ofcolor harmonies. This system is divided into 26 hues based onthe Ostwald system and contains 1,248 mat colored samples. Toeach of these is assigned a letter designation indicating the color, aletter and number designation indicating the composition of thepaint used, a serial number, and a color name. The Munsellnotations of these colors were published by Middleton (17) in 1949.

Color Standards and Color Nomenclature (26) byRobert Ridgway

was developed for the description by naturalists of the colors of

rocks, soils, plants, flowers, insects and birds. This system hasbeen out of print for some years, but is included because it is sowell known and is still used by some who are fortunate enough tohave one of the books. It contains 1,115 mat colored samples andto each is assigned a color name. These color names are listedalphabetically in the front of the book along with a key indicatingthe color so named. Munsell notations for these colors werepublished by Hamly (7, 8) in 1949.

There have been a number of other color-order systems de-veloped through the years (mostly for specialized purposes), somewith restricted color gamuts, some with color names and somewithout, and one used in dermatology that has Latin color names.

From these short descriptions, you will see that most of the

color names used in these systems are those in use, keyed to the


approximate colors. That is, the color names follow the systemof the colored samples; they do not form a system themselves.There has long been a need for a color-name system in whichthe names follow definite orders and are illustrated by coloreds ampl es .

The color names used to describe the colors of drugs andmedicines in the United States Pharmacopoeia (29) and the NationalFormulary (1) were not based on any system and yet had to serveas standards of purity. In the ninth revision of the USP there werea blackish white, several brownish greens, and brownish purples,among other confusing color names. At the request a the Chairmanof Revision of the USP, the National Bureau of Standards in co-operation with the Inter-Society Color Council (ISCC-NBS) developeda system of color names that was accurate enough to satisfy thescientist, usable enough for the industrialist, and simple enoughto be understood by the average man on the street.

The ISCC-NBS system is contained in a set of color-namecharts whose coordinates are given in terms of the Munsellscales of hue, value, and chroma. The psychological color solidwas divided into 267 blocks, each containing about the same rangein color, and to each block was assigned in a regular order asimple color name consisting of a hue name and one or moremodifiers, such as very dark red, light greenish yellow, or vividpurple (Fig. 1). Each chart shows a set of color-name blocks withtheir associated color names, and is a constant hue-name chart.

To use the charts, given the Munsell notation of a color andrequired to find the corresponding ISCC-NBS color name, oneplots the Munsell notation of the color on the color-name chartsaccording to the scales of hue, value, and chroma. The color nameof the block in which the notation plots is the name used to desig-nate the color. If the plotted point falls on a boundary betweentwo or more blocks, the color should be assigned both or all thecolor names of the contiguous blocks, or an appropriate selectionof one or more color names may be made (15).

The words dictionary of color names appear in the title. Thiscame about through the desire to express the boundaries of thecolor-name blocks in terms of other color-order systems, such asthose mentioned above. It was not possible to do this until the color-ed samples, in the Color Harmony Manual for instance, had beenmeasured and Munsell notations assigned. Plotting this notationindicated which ISCC-NBS block and color name correspondedto each of the colors in this color-order. system. This was donefor the 13 color-order systems for which Munsell notations hadbeen assigned to their colored samples, and the color names fromeach of them were assembled alphabetically to form the color-names dictionary. With each of these color names there is givena code letter indicating the proper color-order system, theISCC-NBS color name, and the number of the corresponding


color-name block. There are approximately 17,400 entrios in thedictionary.

Figure 1. Sector of the psychological color solidshowing all the ISCC-NBS color-name blocks for thehue name, purple.

Next, all of the color names in these color-order systems,whose corresponding Munsell notations plotted within one ISCC-NBS color-name group or block are therefore nearly synonymous.All of these color names are arranged according to this plan inthe middle section of the color-names dictionary. Also, with eachof these color names there is given the notation in the appropriatecolor-order system of the colored sample descriptive of that colorname. Thus, if one wanted to find a color name in Plochere nearlysynonymous to one in Maerz and Paul, it could be done through thistable. Likewise, if one wanted to find a near-match of a color inthe Color Harmony Manual to a color in the Federal Color Card,NBS Circular 553 would again be used.

Now let us go one step further in precision. Suppose that acolor had been measured on a spectrophotometer or a colorimeterand the numerical designation determined. Through the use of theproper set of charts or a highspeed computer (12, 25) this nu-merical designation can be transformed into the correspondingMunsell notation. Through this notation, the corresponding ISCC-NBS color name can be found. So you see that it is possible to

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i


determine the ISCC-NBS color name from a Munsell notation, orthe notation in any one of the other 13 color-order systems listed,or from the numerical results of an instrumental measurement.The ISCC-NBS Color Names Dictionary, therefore, acts as ameans of translation with the Munsell notation as a commondenominator.

The Color-Names Dictionary does not contain any samplecolors. It has long been the hope of the Inter-Society Color Counciland the National Bureau of Standards that someday, somehow,color charts could be added to illustrate the color-name charts.But which colors? It was finally decided that the most descriptivecolor of a color-name block would be its central color, or oneillustrating the center of gravity or centroid of the block, becausesome of them are of odd shape, and these 267 centroids weredetermined and published (13).

At this time, the MCC Subcommittee for Problem 23, Ex-pression of Historical Color Usage (color trends), needed a methodof color designation and decided that the ISCC-NBS centroid colorswould be a logical starting point. This project was consideredsufficiently important by the ISCC that it reactivated its Sub-committee for Problem 2, Color Names, to oversee the produc-tion of these centroid colors with the author as chairman. Again theISCC and the National Bureau of Standards teamed up. It wasagreed that the ISCC would finance the project and the Bureau ofStandards would undertake the measurements and studies necessaryto insure that the prototype centroid colors would match the pub-lished centroid notations within stated tolerances. In this way,proper centroids would be produced which could be used in thesolution of Subcommittee 23's problem (9) and at the same timethey would be available to illustrate a set of constant hue-namecharts which would be published as a supplement to the ColorNames Dictionary.

The prototype centroid colors were produced by a color com-pany in Pennsylvania, and the mass-produced centroid colors,based on the D and H samples, are being produced by a colorcompany in St. Louis. These chart sets will be sold through theStandard Samples Program of the National Bureau of Standardsand eventually will be bound with a future reprinting of the ColorNames Dictionary.

These ISCC-NBS centroid colors are few in number (220 to230 are possible with modern pigments), yet they sample thepsychological color solid throughout its entire extent. Now, forthe first time, a uniform system of simple, accurate, under-standable color names has been produced, and most of these colornames are illustrated with their own corresponding centroid colors.The great advantage of the ISCC-NBS method of designating colorslies in its ability to offer a coordinated plan of different degreesof fineness of color description and designation. The illustration

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of the color-name blocks with their centroid colors completes thefinal step of this plan.

SELECTED REFEEENCES

1. American Pharmaceutical Association. The National Formu-lary. (11th ed., 1960). Revised every five years.

2. Glenn, J. J., and Killian, J. T. "Trichromatic analysis of theMunsell Book of Color." Journal of the Optical Society ofAmerica, 30: 609-616, 1940.

3. Granville, W. C. Munsell Renotations of Color HarmonyManual Chips from Spectrophotometric Measurements. Un-published. Available from Container Corporation of America,Chicago, Illinois.Granville, W. C., Foss, C. E., and Godlove, I. H. "ColorHarmony Manual: Colorimetric analysis of third edition,"Journal of the Optical Society of America, 40: 265A, 1950.

5. Granville, W. C., and Jacobson, E. "Colorimetric specifi-cation of the Color Harmony Manual from spectrophotometricmeasurements," Journal of the Optical Society of America,34: 382, 1944.

6. Granville, W. C., Nickerson, D., and Foss, C. E. "Trichro-matic specification for intermediate and special colors of theMunsell system," Journal of the Optical Society of America,33: 376, 1943.

7. Hamly, D. H. "Robert Ridgway's color standards,* Science,109: No. 2842: 605-608, June 1949.

8. Hamly, D. H. "The Ridgway color standards with a Munsellnotation key," Journal of the Optical Society of America, 39:592-599, 1949.

9. Inter-Society Color Council. Interim Report of the ISCC Sub-committee on Problem 23, Expression of Historical ColorUsage, November 1960.*

10. Jacobson, E. Color Harmony Manual. (3rd ed.) Chicago:Container Corporation of America, 1948.

11. Judd, D. B., and Wyszecki, G. "Extension of the Munsellrenotation system to very dark colors," Journal of the OpticalSociety of America, 46: 281-284, April 1956.

12. Keegan, H. J., et al. "Digital reduction of spectrophotometricdata to Munsell renotations," Journal ef the Optical Societyof America, 48: 863A, 1958.

13. Kelly, K. L. "Central notations for the revised ISCC-NBScolor-name blocks," Journal of Research, National Bureau ofStandards, 61: 427-431, November 1958, RP2911.

*See pages 49 to 63 of the present report.


14. Kelly, K. L., Gibson, K. S., and Nickerson, Dorothy. "Tristi-mulus specification of the Munsell Book of Color from spec-trophotometric measurements," Journal of Research, NationalBureau of Standards, 31: 55, 1943, RP1549.

15. Kelly, K. L., and Judd, D. B. "The ISCC-NBS method ofdesignating colors and a dictionary of color names," NationalBureau of Standards Circular 553, November 1955.

16. Maerz, A., and Paul, M. Rea. A Dictionary of Color. (1st ed.)New York: McGraw-Hill, 1930.

17. Middleton, W. E. Knowles. "The Plochere color system; adescriptive analysis," Canadian Journal of Research. F. 27:1-21, 1949; National Research Council of Canada, PublicationNo. 1856, 1949; also Journal of the Optical Society of America,39: 633A, 1949.

18. Munsell, A. H. A Color Notation. (10th ed.) Baltimore:Munsell Color Company, Inc., 1954.

19. Munsell Color Company, Inc. Munsell Book of Color. (1958ed.) Baltimore: the Company, 1958.

20. Newhall, S. M. "Preliminary report of the OSA subcommitteeon the spacing of the Munsell colors," Journal of the OpticalSociety of America, 30: 617, 1940.

21. Newhall, S. M., Nickerson, Dorothy, and Judd, D. B. "Finalreport of the OSA subcommittee on the spacing of the Mun-sell colors," Journal of the Optical Society of America, 33:385, 1943.

22. Nickerson, Dorothy. "Interrelation of color specifications,"Paper Trade Journal, 125: 153, 1947.

23. Nickerson, Dorothy, Tomaszewski, J., and Boyd, T. F. "Colori-metric specification of Munsell repaints," Journal of theOptical Society of America, 43: 163-171, 1953.

24. Plochere, G., and Plochere, G. Plochere Color System, AGuide to Color and Color Harmony. Los Angeles: Fox PrintingCo., 1948.

25. Reinboldt, W. C., and Menard, J. P. "Mechanized conversionof colorimetric data to Munsell renotations," Journal of theOptical Society of America, 48: 864A, 1958.

26. Ridgway, Robert. Color Standards and Color Nomenclature.Washington, D. C.: the Author, 1912. (Color plates by AlfredHoen, Baltimore, Md.)

27. Schleter, J. C., Judd, D. B., and Keegan, H. J. "Extension ofthe Munsell renotation system," Journal of the Optical Societyof America, 48: 864A, 1958.

28. Taylor, Helen D., Knoche, Lucille, and Granville, W. C.Descriptive Color Names Dictionary. Chicago:Container Cor-poration of America, 1950.

29. United States Pharmacopoeial Convention. The Pharmacopoeiaof the United States of America. (16th revision, 1960).Revised every five years.

Color Identificationfor the Building Industry

By Everett R. Call, Call Marketing Services, Inc.

Abstract: A system for reporting usage of consumer products by color,which would provide a means of color designation usable by all industriesas well as a common color language, is discussed. A color service inwhich manufacturers and producers can partici, Ate by reporting theirsales in terms of individual colors is then described. A loose-leaf manualpresenting the scope of colors available in aparticular product, with colorskeyed to Munsell notations, is suggested as a means of providing a commoncolor language.ONE REASON COLOR IDENTIFICATION has become so compli-cated is that everyone is free to utilize color as he sees fit. Thereare actually very few rules, and even where rules can be applied.it seems each user develops his own. One basis for this seeminglyfreehand approach is that the use of color differs with each product.In some instances, it is the material that is the determining factor;in others it is the surface, the end-use of the product, or themanufacturing process itself, that results in a specific manufac-turer or industry adopting a different approach to color.

While I have been, and am, interested in the myriad technicalproblems in the field of color, as a representative of an economicand marketing research company, my major concern is the market-ing aspects of color. The preceding papers have given excellentscientific descriptions of color, but in my field, color is moreoften briefly described as "the consumer's dream and the manu-facturer's nightmare." I believe you will agree that while coloris without doubt one of the best sales tools available, the ultimatevalue of color in marketing is rarely realized.

Leaving out of our consideration the fact that every manufac-turer suffers from various production and control problems, itmight seem that all you have to do is to reach out and take thecolor you happen to touch and use it -- certainly nearly everyshade of the spectrum is in use on some product. But, as manyof you are painfully aware, the use of color is not quite that simple.As you start to devote serious thought to the problem, you becomeaware of such things as the physiological effect of color, color

CALL, EVERETT R. President, Call Marketing Services, Inc.;member, American Marketing Association, Chemical Market Re-search Association, Inter-Society Color Council.

20

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COLOR IDENTIFICATION FOR BUILDING 21

blindness, blending of color, and the effect of lighting on theappearance of color, along with many other problems.

Let us assume that you have met all of these problems and solvedthem. There are three other categories of problems that still besetyou, and sooner or later the nightmares occur. These three problemsare: first, the economics involved in producing and stocking a colorline; second, the problem of evaluating the consumer' s desires inso-far as color is concerned; and third, the problem of understandingthe various languages employed when discussing or describing color.

The problem of economics differs for each product and, indeed,for each producer. In the past, the problem of evaluating theconsumer's desires has been a difficult one, and has been solvedby each manufacturer and for each product, individually, if at all.This has necessitated costly and time-consuming surveys resultingin data on a limited number of products, representing a small partof the economy. Each such survey is limited to the colors in aparticular line of merchandise, or to the colors in the surveyor'spalette. Thus, unless one surveyor conducts all the surveys, itis difficult to correlate the results in any but the crudest details.

Adding to the confusion might seem impossible, but it isn't.Assuming that a color choice has been made, the architect, builder,color consultant, or interior designer finds it necessary to com-municate this choice of a color to manufacturers of various buildingmaterials, as well as to others. The problem arises when one isconfronted with color names such as Waterfall (one word), whichis a green, and Water Fall (two words), which is a blue -- orexactly what colors are meant by such terms as Salmon Pink,Desert Gray, Rose Gray, Sunrise, Rose Nude or Promised Land?

The subject of this paper is a unique approach to determiningconsumer acceptance of various colors, while at the same timeproviding a solution to the cobimunications problem. It is anapproach that offers many bonuses to the user.

A few years ago, as the Director of Marketing Research andStatistics for the National Paint, Varnish and Lacquer Association,one of my tasks was to conduct an annual survey of the colors ofready-mixed paints sold. In analyzing the results, I realized thatthis survey was of very little value to our members because,while they knew what their competition was doing, there were nodata available indicating color usage by other industries whoseproducts would affect the consumer's ultimate choice of colorsof ready-mixed paint. Further, even if such data were available,they could not be compared with surveys of the paint industry,because of the many color designation systems used.

In a speech before the Annual Meeting of the Inter-SocietyColor Council (ISCC), I suggested that they establish a problemsubcommittee to develop a method of expressing historical colorusage data, that is, color trends. The Council agreed and, as myreward for offering this suggestion, I was named co-chairman of

er4


the committee which became known as ISCC Subcommittee forProblem 23-- Expression of Historical Color Usage. The ob-jective of the Subcommittee was "to develop a technique of ex-pressing historical color usage of consumer products in order tofacilitate intercomparisons among industries." Or, as the MCClater described it, our objective was "to derive compatible methodsfor recording historical consumer color preferences for productsin individual industries, to publicize these methods and encourageall industries to adopt them so that (1) useful historical records ofconsumer preference trends of their products may be availablewithin individual industries and (2) the interrelationship of con-sumer color preferences of one product upon the choice of anotherproduct may be established among industries."

When the ISCC named the committee to work on this problem,the membership of the committee read like a page from the "Who'sWho in Color." In our case, not only did each committee membergive freely and consideeably of his time and effort but many otherCouncil members contributed their special talents. Before thesubcommittee could proceed with its assigned task, a color desig-nation system was needed that would be acceptable to all industries,one that would correlate data expressed with different degrees ofprecision and in different color-order systems, as well as onethat would allow for easy handling of huge masses of statisticaldata.

We soon learned that none of the available systems would beacceptable to all industries. However, we did have available theInter-Society Color Council-National Bureau of Standards (ISCC-NBS) color-names system, wherein the boundaries of the 267named blocks were specified in terms of the Munsell system andtherefore, by extension, in terms of a number of the recognizedidentification systems such as Maerz and Paul, Plochere, or Ost-wald (also known as the Color Harmony Manual), as well as others.Next, we were faced with providing color identification for indus-tries that were not concerned with precise color designation,either because of usage or because the tolerances resulting frommanufacturing processes were so broad. Again, the ISCC-NBScolor names system was the key.

While we were struggling with designation problems, we wereat the same time working to develop a statistical methud. Withdirection provided by Kenneth Kelly of the National Bureau ofStandards, and through the application of the ISCC-NBS system, wedeveloped a simple method of dividing the color solid into suc-cessively smaller blocks in five steps. Each finer subdivision isaccomplished by dividing the blocks in the previous step. Thusin step A, the entire color solid is divided into 13 large blocks.In step B, some of these 13 blocks are divided into a total of 29blocks. These 29 blocks are further divided into 267 smallerblocks -- the ISCC-NBS method. These 267 ISCC-NBS blocks are


specified in terms of the Munsell system, which contains 1,000to 1,200 colored samples. These colored Munsell samples havebeen measured and specified in terms of the numerical CIE co-ordinates, x, y, and Y. As Mrs. Bellamy explained earlier, by useof decimals the Munsell designation system is limitless. Thus,this system provides five levels of precision of specification of

a color; the color specification blocks in any level are connectedto the blocks in another level by a predetermined plan; and itprovides practically an endless number of designations. Hence,at all times, the complete color solid is included. This methodis described fully in the report of the ISCC Subcommittee for Pro-blem 23 which is reprinted in the present report as an appendix(see pages 49 to 63).

As I mentioned earlier, manufacturers of various productsview color differently. For example, the paint manufacturer canand does deal with color in terms of Munsell notations, or some-times even in terms of CIE coordinates that Mr. Kelly discussedin his paper. However, in cases where the manufacturing processwill not permit such accuracy, or when a color match is not re-quired, the ISCC-NBS blocks serve all specification and desig-nation, as well as identification, requirements. So, regardless ofhow color is treated by the individual manufacturer, each canutilize at least one level of Subcommittee 23's method for classi-fication and reporting purposes. The levels that include only29 and 13 colors are useful in permitting easy statistical treat-ment and simple charting of color usage.

Architect Milo D. Folley, who is a member of ISCC Subcom-mittee 17-- Color in the Building Industry, outlined at a recentmeeting of the ISCC the color problems facing architects, de-signers, and builders, and asked if Subcommittee 23's methodbe utilized by the entire building and building materials industry.Our answer was a biased "yes," on several counts.

Mr. Folley described the major problem of architects withthe field of color as the lack of a universal, systematic desig-nation-- the lack of a common color language. This lack, he said,has placed the architect at a disadvantage in any plans to achievecolor coordination when a variety of materials is being used. Youwill recall that one of the aims successfully achieved by the Sub-committee for Problem 23 was to find a system of color desig-nation that would work for all industries, regardless of how aparticular industry handles its color specifications. Hence, wenow have an instrument that provides a common color language.

I hasten to add that our approach does not require the abolitionof custom names, nor does it require a manufacturer to restricthis palette of colors in any sense. Rather, our approach makesit possible for a manufacturer to take maximum advantage of thismarketing tool in a manner that allows those concerned to specifycolors appropriately.

{4,


The next question was, would all industries adopt thh3 method?As most manufacturers well know, there are many reasons whythe color system now in use was adopted or developed. They atpresent go to considerable lengths to assist the architect in =Icinghis color choices. However, I am sure we are all aware of hisproblem, and the handicap under which he now labors. Further, Ifeel certain that manufacturers would further assist the architect,builder, color consultant or interior designer, if at the same time,they could increase their sales, increase profit rates, reduce in-ventory losses due to color obsolescence, reduce cost of colordevelopment, and increase the efficiency of purchasing programs.

The key to all these advantages is in use of the method of ex-pressing historical color usage information as developed by theISCC. However, it must be taken one step further by providing ameans of processing data from all industries, so each manufac-turer can compare his experiences directly with his industry total,or with other industries. By doing this, color trends can be de-veloped permitting participating companies to have a color alreadyin their lines, when the consumer first seeks that specific colorin that particular product. Also, these same trends will indicatewhen a color will drop in popularity, permitting a manufacturer totake a color out of his line, or to reduce production to a pointcompatible with demand. Let us take as an example an appliancemanufacturer. His choice of colors is determined by those forwhich the consumer has already shown a preference in his pur-chases of cabinets, tile, floor coverings, and counter tops. Theappliance must fit into the decor of the room as it now exists.Every product in the home is affected by the color choice ofanother, be it telephones, paints, rugs, draperies, towels, tissues,tiles, siding, shower curtains, bedspreads, or -- you name it.

There is an organization equipped to develop and analyzecolor trends in a service available to all manufacturers and re-tailers. In order to participate, a company need only report itscolor experience in terms of percentage of total sales representedby each color used, in accordance with the methods developed bythe ISCC. These data are converted into Munsell notations and fedinto a computer. Using a specially designed computer program,the data are processed and are available in practically any con-ceivable form. For example, a paint manufacturer can obtain acomplete picture of the relative importance of the colors (ex-pressed in terms of Munsell notations) used in tile, floor coverings,stoves, refrigerators, tables, counter tops, kitchen cabinets, bath-room fixtures, draperies, rugs or any other product.

Why would a paint manufacturer want this information, or whywould the others want the paint color data?Because these data showwhat colors the consumer has accepted. Certainly, the choice of thecolor of a wall paint in the kitchen must be compatible with thelonger-lived and more expensive items already in the kitchen.

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These special reports show data on a product basis. No indi-vidual company's data are ever disclosed. So, in a sense, this isa cooperative venture for the participating companies, as eachmust contribute before he can take out information. For his co-operation, each receives a composite report at no cost. Specialreports by product or by color, compiled to specifications es-tablished by those requesting the report, are available for a feeto participating companies only. There are already manufacturersparticipating in this service representing practically every con-sinner product, as well as the largest retail organizations. I onlymention this to establish the fact that all manufacturers and re-tailers now participating in this program are using the methoddeveloped by the ISCC, and therefore are using a common colorlanguage.

If I have suggested to you that all you have to do in order tosolve your color choice problems is to participate in a color ser-vice, permit me to shatter any such illusion. There is no singleanswer -- no magic wand that you can simply pass over the prob-lem and automatically find a solution. In the first place, eachorganization has goals, prohibitions and problemspeculiar to itself.Hence, its situation must be considered separately.

There are many tools available to manufacturers by whichthey can formulate color programs. Each must choose his toolsin view of his problems. There is no set pattern. One producermay find that consumer acceptance surveys are necessary; othersmight find that they can permit a designer to let his artistic abilitiesrun wild. For most, however, the economics of each industrydemand a close check on the number of colors utilized. This auto-matically poses color choice problems.

Again, depending on the product, you should consult the ex-perts, i.e., the colorists and color consultants. They are trainedin the complex field of color, and can anticipate problems andprovide solutions before an economic disaster calls your attentionto these problems. The colorist utilizes every tool he can find,all the way from historical color usage data provided through thecolor service I mentioned, to the psychological and physiologicalaspects of color discussed in the preceding papers.In other words,I am suggesting that you utilize the colorist as a color executive,to bring all aspects of color into proper focus. Some companiescan afford to have such individuals on staff. These are extremelyfortunate but are, unhappily, in the minority.

A color program for building products and materials manufac-turers and builders must be developed to fit the specific productand operation. Because of this, I will not attempt to offer an outlineof a color program for the building industry. This conferencecovers the entire field, and each individual must select the ele-ments of most importance to his field of activity. The colorproblems facing architects are far different from those facing

.

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manufacturers, as architects are concerned mainly with the appli-cation of color in a specific situation, and coordinating colors forone specific building or group of buildings.

Architects, industrial and interior designers, and even chemists,physicists and illuminating engineers must be consulted on someproblems. If we accomplish nothing more than to demonstratethat color is a fantastically complicated field, but that answersare available, then this conference will have been a resoundingsuccess. There is no single source of knowledge; however, I believethe starting place is the colorist or color consultant. The trulycompetent colorists will assure you that they themselves cannotanswer all your questions, but they can recognize them, evaluatethem, develop an approach, locate the tools, and apply those tools.By tools I refer both to physicists, chemists, illuminating engi-neers, marketing researchers, designers, and architects, and thestatistical tools such as the color service described earlier.

Since we first talked with the architect about the desirabilityof a common language, we have gone a long, long way toward thepoint where all industry will adopt a universal color language.While it is true that industry is not adopting this idea for the solepurpose of helping the architect, builder, colorist and designer, thiscommon language is precisely the goal sought by the architect,colorist and designer. It is a fact that a common language is inexistence, and that for many reasons it is being adopted by manu-facturers and retailers. Further, this same approach can beutilized as an extremely valuable sales tool for manufacturers,as well as an excellent tool for architects, builders, coloristsand designers in their efforts to specify colors accurately.

One possible technique for utilization of this concept could bea loose-leaf color manual with a section for each product. Headingeach section would be a chart showing the scope of colors availablein that product. By scope, I am referring to the highest valuesand chromas offered. These limits can be determined by the re-ports of companies participating in the color service mentionedearlier. Also, the tolerances which the builder, architect, colorconsultant and interior designer must allow because of technicalproblems involved in the manufacturing process would be shown.

Following each product introduction would appear the colorsoffered by each manufacturer. Each manufacturer's colors wouldappear on a separate page or pages, and be identified as thatparticular company's colors. Under each color chip the manufac-turer's own designation would appear along with the Munsellnotation. Those who specify colors could use this manual by re-ferring to the Munsell notation of one product, and using thiscommon language in all other color choices.

The development of such a manual would be a tremendous task.Manufacturers currently participating in the color service des-cribed above have expressed unanimous interest in such a manual.


If the interest spreads, I personally will do all I can to developthe manual approach. I know I can speak for all those participatingin this conference, and for the Inter-Society Color Council when Isay that they too will cooperate in every possible way with a re-sponsible group or organization which will undertake this project.While it is a complicated task, the groundwork has been accom-plished and the procedure fairly well developed.

4

IPanel Discussion

Moderator: Richard N. Jones

Panel Members: Waldron Faulkner, Henry D. Bixby, BeatriceWest, Jerome Miller, and Gladys Miller

IntroductionBy Richard N. Jones, Panel Moderator

AS A LAYMAN, I am very much impressed with this complexworld of color. Participating in this conference are many profes-sionals, many people well-versed in the wonderful world of color,but I suspect, also, there are some people representing manu-facturers, or other types of professionals, who are not yet suffi-ciently versed in the subject to understand when the panel talksabout hue and value and chroma.

I have had the good fortune of working with architects, designers,and interior decorators for some 30-odd years, and some of theirknow-how has rubbed off on me, but I am frank to say on thissubject of color I must plead ignorance.

The topic of this panel discussion is an identification systemfor color. The problem before the house is to create a language.Now, unfortunately, this particular subject does not enable us toget into the area that, sooner or later, we must get into-- the areaof standardization. How can we put to use the knowhow that maycome out of this discussion? Having spent extensive time at arecent discussion on prefinishing of building components, I amaware of the tremendous problem those of you who are dealingwith color must face four years from now.

I say four years, because that is when the building boom shouldcome. When the war-babies explosion takes place, we must beready. And, we must be ready to prefinish the components withwhich we will build, which means we must have a common colorlanguage. So, when I say we must start now to get this language,this is the first step. No one on this panel is unmindful of theproblems that architects and builders have in their minds. Un-fortunately, time will not permit us to go Ls far as we would like.

JONES, RICHARD N. Marketing Specialist, LIFE Magazine; formerAdvertising Manager, Architectural Forum, and Advertising SalesDirector, House & Home Magazine.

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PANEL DISCUSSION 29

We have seen what color has done in the revolution that istaking place in non-residential building. 'We have seen the greatcontribution that color has made in commercial and industrialbuildings, because architects, builders, and suppliers arrived ata language that worked. They could not afford not to, because theywere dealing in millions and millions of dollars worth of expensivenonresidential construction.

Now, as residential building moves over into the area of in-dustrialization, we must be certain that we have the right languageto arrive at the right colors for the building components. This isparticularly important because yesterday people used to buildhouses, but people don't build houses any more; they buy them. Itwas all right to make one color mistake on one house, but withprefabricators already producing 10% of all houses, with 100,000houses coming off the conveyor line per year, we cannot make thesame mistake a hundred thousand times and survive. This is whythe question of education and the arrival at a language that isunderstandable are vitally important to this great industry.

Color in ArchitectureBy Waldron Faulkner, Faulkner, Kingsbury & Stenhouse

AS AN ARCHITECT in private practice, I am deeply interestedin the appearance of building materials. I have spent severalyears in the study of color in architecture, and realize that colorin architecture depends for its life-blood on color in the buildingindustry.

I agree with the basic theme of this conference; that the needfor a common language of color identification in the buildingindustry is of paramount importance. I also believe that, untilsome common method of communication about color is in generaluse, we shall not be able to solve some of the other pressingcolor problems with which the architect is concerned. The sub-ject of color identification has already been so ably presentedthat I wish to take this opportunity to discuss some of the otherproblems which color identification would help to solve.

One of the architect's most demanding tasks is developingcolor schemes, and translating them into building materials whosecolors will harmonize in the finished building. Architects mustmake their selections from catalogues, color cards, or samples,but catalogues are soon out of date. Color cards are often in-accurate in their reproductions. Samples accumulate so fastthat, unless they are culled frequently, the architect's

FAULKNER, WALDRON. Senior Partner, Faulkner, Kingsbury &Stenhouse, Architects; Fellow, American Institute of Architects;former president of Inter-Society Color Council.


office soon looks like an exhibit of second-hand buildingmaterials.

I often ask myself -- How can the colors of building productsbe better organized and more usefully presented to architects,designers, builders and owners? There is no easy answer becausecolor problems vary greatly with different products. Many manu-factured materials have a wide range of colors which can be con-trolled quite accurately. The colors of products such as painthave been carefully measured, and can be designated by someaccepted method to almost any degree of precision, as outlinedin the preceding papers.

On the other hand, natural products such as stone or wood havea relatively narrow gamut that can be controlled only by carefulselection. Some, like limestone, have only recently been accuratelymeasured, and even their producers do not know the exact colorsof their own products. This being the case, how can the architect,or anybody else, specify their colors?

I would like to offer some specific suggestions as to how thepresent situation could be improved. First, it seems obvious that,in accord with the theme of this meeting, the entire color rangeof any product must be measured and specified more or lessaccurately, depending on the product and the use to be made of it.Unless this is done, its colors cannot be identified with any degreeof accuracy.

Second, after the complete gamut of colors has been measured,it seems to me that we should go further and select certain repre-sentative colors as standards, to be used as a basis for compari-son or identification.

Third, after certain representative colors have been adoptedas standards, color tolerances should be set up to show how closecolors must be to the standards to be acceptable. Because allcolors have three attributes, hue, lightness and saturation, theirtolerances must include all of these variables. The method ofspecification described in the foregoing papers provides a wayto do this.

I know that some producers get the cold shivers whenever colortolerances are mentioned above a whisper. I can see no reasonfor this, if the tolerances are properly set and are mutually agreedupon by architects, color consultants and manufacturers. Ratherthan leave this situation in its present state of vagueness, it wouldseem wiser to face the problem frankly, and to have a clear under-standing as to what tolerances are reasonable for the manufacturerto meet. Without tolerances there is always the possibility of dis-agreement as to how far a given color can depart from an approvedsample. Tolerances set with proper regard for the producer aswell as the customer would be a protection to all concerned.

Fourth, there is the question of color control. I don't know howmany architects have said to me-- "Why aren't the colors of

PANEL DISCUSSION 31

building materials more consistently uniform?* I know that naturalproducts and ceramic materials that must be fired are bound to haveconsiderable variation in color, and some of this is often desirable.But I see no reason why materials like floor coverings, that aregiven the same color name or number by the manufacturer, shouldnot match reasonably well. For instance, last summer I was doingover my kitchen floor and decided to use a gray linoleum tile.About half of this floor had been laid when the next batch arrived.This was a gray tile of another color! Even the man who waslaying it complained that it did not match what he had just laid.We had to wait for a day or two for another lot to be sent fromBaltimore. In view of the modern techniques of color control, I

see no reason why this should happen.All this emphasizes the need not only for common methods of

color identification, but also for better color standards in thebuilding industry. For years color standards have been in commonuse in many other industries. I refer not only to company standards,but to industry-wide color standards, such as have been adoptedby the Porcelain Enamel Institute.

Before this was done, each manufacturer of porcelain enamelwas offering different sets of colors, which he hoped his com-petitors could not match easily. This situation became so acutethat it was proposed at the PEI meeting in 1957 that their Archi-tectural Division develop a group of so-called standard archi-tectural colors. This suggestion met with enthusiastic iv wonse.Eventually, with the support of the American Institute of Architects,industry-wide standards were adopted. These consisted of 47 colorswhich could be produced by any qualified manufacturer of porcelainenamel.

They are shown in the PEI Color Guide for Architectural Porce-lain Enamel (AIA File No. 15-M-1). Chips of the 47 colors are repro-duced by a color-depositing process , which shows even stippled sam-ples accurately. Each has a PEI designation and a Munsell notation.To my mind this is an excellent example of color identification andstandardization. Because they are industry-wide standards, it is nowpossible for architects to select porcelain enamel colors and to spe-cify them in such a way that more than one producer can bid on them.

I know that some producers are leery of industry-wide stan-dards for fear that these would limit them and give their competi-tors an advantage. My answer to this is that, if a manufacturer doesproduce colors that conform to an industry-wide standard, he can al-so produce nonstandard or special colors in addition, should he wishto do so. But, by conforming to the industry-wide standard, he canmatch the color of any other competitor who does the same thing. Inthis way, if an architect specifies a color which is an industry-widestandard, any manufacturer who follows this standard can bid.

In closing, let me make a plea for a common method of coloridentification in the building industry, not only to establish a means


of communication in this field, but also as a first step towardsolving some of the other color problems that beset architects,customers and producers alike.

The Problem of Color CommunicationBy Henry D. Bixby, Central Commercial Company

THE CONFERENCE PAPERS have described various color-ordersystems, their applications, and some of their advantages anddisadvantages. Mr. Kelly touched briefly on the purely physicalcomposition of color and the designation of a given color by nu-merical values. These values are called chromaticity coordinates,and they often cause confusion, especially among the uninitiated.In talking about color, more often than not we encounter communi-cation confusion, due to the complexity of the subject matter. Thisconfusion really exists, and we hope that the method of color speci-fication and techniques of application which have been brought toyour attention will decrease chromaticity coordinate confusion incomplex color communications -- or you can't tell the colors with-out a scorecard!

It has been pointed out that architects have at their commanda tremendous number of building materials, available in a widevariety of color. The architect, in the expression of his creativeabilities, seeks color, texture and form to express his ideas, butcolor communications between the architect and the manufacturerare at best only a verbal compromise without a color scorecard.

The color designer or stylist faces much the same problemand, in some instances, considerable color confusion occurs when

the stylist is employed to color-style a new product line, or tomodify or extend an existing line. Only when the color designerand manufacturer have their scorecards can satisfactory colorcommunications take place.

Those involved in advertising and promotion encounter stillanother facet of the color communication problem, for they mustbuild product identification in the consumer's mind. Imagine Madi-

son Avenue preparing copy for the high-fashion magazines interms of Color Harmony Manual or Munsell notations "Yummy 7pa sweaters° or "Shocking 5.0 R4.2 12.0 nail polish!" By the sametoken, no manufacturer in his right mind would relinquish to a setof numbers and letters the well-known and recognized proprietarytrade name of his product-color. I certainly would not subscribe

to such unimaginative color descriptions.

BIXBY, HENRY D. Chief Ceramic Research Engineer, CentralCommercial Company; member, American Ceramic Society, Na-

tional Institute of Ceramic Engineers, Inter-Society Color

Council.

PANEL DISCUSSION 33

However, those of us in manufacturing must face realisticallythe problem of obtaining relatively precise knowledge of just whatcolor is wanted in order that we can provide for, rather than dic-tate, man's use of color. We are also faced with the control ofcolor in processing and the determination of commercially ac-ceptable color variations or tolerances.

As a ceramic engineer, specifically interested in structuralclay products, one of the major problems I face is to determinejust what color is desired, and the degree of precision requiredin the color match. The NBS-ISCC centroid system of color speci-fication, and the modifications suggested today, offer a workablemethod of color communication which will materially assist insolving this problem.

Samples, submitted to me for matching, have included paintchips, cloth swatches, various sizes and textures of colored paper,Color Harmony Manual chips, small pieces of porcelain enamel,glazed tile chips, etc. Verbal descriptions of colors to be matchedhave included " . . . a dark blue with a reddish cast," . alight pinkish orange, like X brand lipstick," and " . . . a dark graywith brown spots like match heads."

It is interesting (and comforting) to note that the ceramicindustry has no monopoly on this problem. At one of the recentInter-Society Color Council meetings, a speaker from one of themajor plastics producers described his experiences in matchingthe color of a shark's tooth!

Due to breakdowns in color communication between the archi-tect, the color designer, the dealer or salesman, and the manu-facturer regarding the desired color and the degree of precisionof color match, dissatisfaction has occurred all along the line.As color communication is a two-way street, the manufactureris also faced with the problem of describing the colors of theproducts he makes to architects, color designers, and consumers.There appear to be as many different methods of doing this as thereare manufacturers.

The size, weight, or shape of a building product is very oftenthe basis for choice of the method of presentation. In addition, theconsumer often requires a particular type of sample prior to hispurchase. As a result, most manufacturers spend a considerableportion of their advertising budget in preparation and distributionof samples. With the technical progress of the past decade in colorphotography and the graphic arts, faithful reproductions, from thecolor standpoint, are now economically available and widely usedto present products without the bulk and volume of actual samples.

Miniaturization is no longer the exclusive field of the elec-tronic and communications industries, as more manufacturershave turned to this technique to show the actual material, scaleddown to fit into brochures, kits, etc. Here colors and surfacetextures can be truly representative, but the ultimate use of the


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product requires an extrapolation from the miniature sample tothe end-use that only a few can successfully perform.

The NBS-ISCC centroid color specification system can be easilyincluded in the preparation of samples as described above, and

the system described today embodies suitable nomenclature, choiceof precision, and ease of use without excessive cost, technicalbackground and training, or the loss of product identification. Thisis the scorecard which will enable us all to have color communi-cations without confusion.

Merchandising Through ColorBy Beatrice West, Beatrice West Color, Inc.

OF ALL VISUAL PHENOMENA, color is so common a part of ourdaily lives that few of us are ever really conscious of it, or wonderexactly what is color?

To the manufacturer, architect, builder, color consultant, thescientist, designer and consumer, color is one thing; to the artistanother; to the psychologist evaluating his experiments, it is some-thing else again. Yet, each concept is dependent on the other and

no attempt at a true explanation of a color creation can be madewithout considering color in all its aspects, and necessarily re-turning to the question, exactly what is color?

Webster has defined color as: "A quality of visible phenomena,distinct from form and from light and shade, such as the red ofblood. . . ." Color is perceived by the eye alone, and is associatedwith the effect of particular light vibrations on the optic nerve.Although color is one of the shortest words in the dictionary, itis extremely complex, due to the fact that it involves physics,chemistry, physiology and psychology. But the psychological aspectof color is the most important factor we deal with in our everydaylives, for we are constantly dealing with the impact of color uponpeople, and ultimately, with the way color affects sales.

Because light is perceived differently, no two people will seeeye-to-eye on color. However, the professional color consultantis more capable of evaluating color and its varying factors thanthe untrained eye. Professional color styling is functional color,or a method of color application in which definite objectives areset forth, and in which results are measured. More important,

WEST, BEATRICE. President, Beatrice West Color, Inc.; member,American Institute of Interior Designers, Architectural League ofNew York, BRI, Color Association of the U. S., the Inter-SocietyColor Council, National Home Fashions League, National Asso-ciation of Home Builders; associate, New York Chapter, AmericanInstitute of Architects.

PANEL DISCUSSION 35

professional color consultants base their recommendations uponresearch data, rather than personal opinion.

I admit there are many self-appointed color "experts° whospecify colors in various fields, who do not use any color system,or a scientific method or approach. Many manufacturers' productshave been color styled by an executive's secretary or, more thanlikely, by his wife.

Color has experienced a real revolution since World War II.At the beginning of the '50's, people were afraid of color, but to-day color is everywhere. People have accepted color and its powersof persuasion. There is no doubt about it, color is a tremendousmerchandising tool, but has the novelty worn off this marketingtool?

First let us review a few of the successes achieved by thetrained experts:1. Automobiles

Everyone knows the success of color in the automotiveindustry, but many of the early tycoons balked at the use ofcolor -- even Henry Ford who believed that any color was allright as long as it was black. Today, color is playing animportant merchandising role for this industry, more than everbefore. From one automotive manufacturer, approximately 650standard color combinations are available, plus numerous cus-tom color schemes. Color names range from: "Glacier Blue"and "Tropic Mist" to "Nassau Green," all basically the samecolor. For the consumer, this tremendous choice of color vari-ation and color names can result in "color confusion."

2. Housing ProjectsSeveral years ago the editors of Fortune Magazine went

into a huddle and, after elaborate and careful calculations, pro-duced the statement that since 1947, there were 49 millionsuburbanites in the United States, which had resulted in the"Suburban Sprawl.° For one community of 20,000 houses, colorhelped to bring individuality to each house and to the entirecommunity, in spite of a single plan for all houses. In colorplanning, the problem was to use a minimum of colors in amaximum of combinations, by using only 2 roof colors, 4 sidingcolors, and 8 paint colors, which resulted in no two housesbeing exactly alike in the total of144. Professional color stylingwas well received by the consumer, tnd prnof of the "colorpudding" is that the original colors remCn the -c.1 even today.

In contrast with this do-it-yourself color styling, professionalcolor styling is functional color, or a method of color appli-cation in which definite objectives are set forth and in whichresults are measured. The self-styled expert does not deal withcolor systems, scientific data or research methods. Therefore,the results are not always good. Some houses look like bananasplits, complete with the cherry on top.


3. PrefabricationPrefabrication has made tremendous strides in promoting

good taste in color, good design, good materials and good publicrelations. One large prefabricator's sales1 increased by 27%after the first year's use of color styling services. This alonepoints up the tremendous part color identification plays inmass production. Shell house manufacturers can profit by theprecedent set by prefabricators. They have a golden oppor-tunity to meet this super boom we are expected to have forthe next five years by promoting good taste in color and design.

4. KitchensThe kitchen is one of the most important rooms in the house,

where proper color coordination plays a tremendous role. Hereis proof that color cliches can be broken, for the all-whitekitchen no longer exists. Progressive manufacturers know theycan't afford to make mistakes in color. Some prefer to termtheir year-by-year changes as "planned obsolescence." This isdemonstrated by the results of sales figures for one appliancemanufacturer2 who recently announced an all-time high, up36% over the comparable period in 1960, which was due in partto its color coordination services offered to builders andconsumers.

5. Home FurnishingsAs Frank Lloyd Wright said: "It is quite impossible to con-

sider the building one thing and its furnishings another .floor coverings and hangings are m much a part of the houseas the plaster on the walls."3 It stands to reason that, once thecolors are right for the structure, all home furnishings shouldbe coordinated and related by a common code, or color language.More and more big chain stores are realizing the necessityfor .a color identification system which will provide the storebuyers with a means of communication and the manufacturerwith a color system for correlating his products with othermanufacturers' products used in the home together. This is whatit takes -- total communications -- to reach our potentialconsumer.

6. TelephonesSince the color debut of the telephone five years ago, more

than 10 million colored telephones have been installed, eventhough black phones are installed without additional cost.

1 Price, James, of National Homes Corporation.munication, October 1953.

a Klein, Julius, of Caloric Corporation. PersonalOctober 1961.

3An Autobiography (1st ed.), published by Duell,1943.

Personal com-

communication,

Sloan & Pearce,

PANEL DISCUSSION 37

7. Nonresidential BuildingThe architect and color designer have brought about tre-

mendous changes in banks and other commercial and industrialbuildings, and have departed radically from traditional colorspecifications. We see the same bright picture when we lookat the part that color has played in changing the images ofschools, where color plays an important role in reflecting lightand in creating the right atmosphere.

In all buildings, the architect, color designer, and buildingsupplier must have a mutual means of communication, a com-mon language for specifying colors in order to avoid "colorconfusion." In supermarkets, color communication is used toinfluence the shopper toward impulse buying, and for creatingan "image" for the store and its suppliers.

Color therapy plays a tremendous role in hospitals, wherethe psychological aspect of color is put to use for convalescentsto speed recovery; where color is used to direct traffic orotherwise create an atmosphere which is healthful and cheerful.In hotels, color often runs rampant. With the "color revolution"came good and bad examples, and sometimes the results werea vulgar display of the wealth of our age. By contrast, an im-pression of quiet elegance, dignity, and the prosperity of thepresent time can be reflected by the use of good taste in colorsand materials. Unfortunately, too small a percentage of buildingshave been designed by architects, and only a few building manu-facturers have moved forward to realize that progress isbuilt on change, and the colors are never static. Others staywith "old hat" methods of production and color, which can makethe vital difference between profit and loss in the field ofbuilding economics. Contemporary architects, like EeroSaarinen, also stressed the importance of manipulating colorto express space.

8. AdvertisingIn all forms of business communication, in advertisements,

promotion, and point-of-purchase material, the switch fromblack and white to color has produced immeasurable and con-crete sales results. In short, color has been accepted by allindustries, and whether you are ready for it or not, one basicfact remains -- color is here to stay!At this point, as a professional color consultant, I am happy to

report on the tangible success of color as an important communi-cator, and as a tremendous merchandising tool. However, theheyday of color as an isolated element in merchandising is fastcoming to an end. I do not mean that the sales impact of color iswaning. Quite the opposite; the public's acceptance of color wasonly the beginning. Public taste is more sophisticated and moreeducated than it was a decade ago. Mere novelty of color isnot going to be the primary motivational factor in buying. Today,


mass communication approaches a more scientific level, and weare depending increasingly on accurate measuring devices forsymbols, language, and trends in color.

But, in attempting to put color on a measurable basis, we runinto difficulties not encountered to the same degree by languageand by formulas. Where we fall short is in the lack of a universalidentification system, a common language, easily understood byall, but based on scientific research. And this is where such peopleas the members of the Building Research Institute can help. Themembers of the building industry must work together to create abetter understanding and relationship among its professional groups:the architects, engineers, designers, color specialists, manufac-turers, builders and other scientists. The marketing "tools" whichwe have today can bring about a better understanding and moreexact knowledge of what color is, with the color systems of Munsell,Ostwald, and others.

The findings of associations and organizations such as theProducers' Council, the Color Association of the United States,the American Institute of Interior Designers Resources Council,the National Paint, Varnish and Lacquer Association, the Inter-Society Color Council, the National Bureau of Standards, andothers, are all excellent means of bringing a common denominatorto color, of aiding the color specialist with his interpretation ofcolor design, color trends, color preferences, and colorspecifications.

But even this is not enough to make color a real success inits entirety. Mutual respect and full cooperation among fellowprofessionals and other members of the construction and buildingindustry is an ingredient absolutely necessary for success. Thepoint is that, today as never before, there is a definite relation-ship between color and design. Whether a color ends up in highfashion, or in mass production of building materials, depends notso much on the color as on its combination with other colors, andthe application of color as it appears on different materials.

This is the basis of our meeting today, to offer our cooperationin bringing about a means of color identification, established byauthoritative sources, for aiding the development of color researchin the building industry. Let us accept the challenge of society'sneeds by developing our specialities to their utmost, but primarilyby recognizing our own limitations and working together. Only incollaborative effort can we possibly build an environment suitedto the best possible use, for our country and for human welfare.

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A Plea for Color CoordinationBy Jerome Miller, Long Island Home Builders Institute, Inc.

I AM ALSO SOMEWHAT of a novice in color among the many ex-perts here, but perhaps, as Nicholas Murray Butler so aptly putit, "An expert is one who knows more and more about less andless." I, as a builder, have always felt somewhat frustrated by thelack of coordination between manufacturers in the various colorsof their products. I was most pleased to be invited here more orless to stress the importance of your work to the builder. Thisconference offers a system of color communication between manu-facturer, industrial designer, architect and color consultant, tocoordinate the colors of paint and wall paper, fabric, counter tops,furniture, floor coverings, etc., that go into the dwellings we build.

However, this learned group must now seek to correlate thisknowledge with a familiarity with the products that we use, suchas wood, concrete, steel, aluminum, brick, plastics, porcelain, andtheir various textures, light reflection, etc. You have seen in thecolor chart displayed here, how different colors change as lightreflects from them. We have many types of plastics coming intouse in building now, and we must know the effect that light is goingto have on their colors.

The plastic House of Tomorrow in Disneyland opens greatavenues for color. A need for and the desire for fresh, coordi-nated, sparkling color are going to be rampant. You can see thatin many of the new plastics now appearing on the market.

Another new form of dwelling which was recently describedin our newspapers, is a plasticized paper house which can allegedlybe produced for as little as $1,000. This shows remarkable strengthand very many livable qualities, and I foresee in the years to come,if our archaic building codes can be changed, that this paper housemay become widely used for summer houses and dwellings inwarm climates. The paper house could also be a wonderful vehiclefor the use of color. But, there again, we would have to coordinatecolor all the way down the line.

The color identification and coordination system presented atthis conference can be a great help to the builder and his associatesin providing a better home for tomorrow. Prefabricated wallsare being developed and are gaining wide acceptance in the resi-dential building field. The prefabricated porcelain enameled wall,the glass wall, the wood wall, all are being used for houses, aswell as commercial and industrial buildings. No longer need ourfactories be a drab, uninteresting blight on the landscape. As we

MILLER, JEROME. President, Long Island Home Builders Institute,Inc.; member, National Association of Home Builders.


see them today, many are somewhat like modern paintings, withtheir very interesting splotches of color.

There has been a tremendous upsurge in the use of color inbuilding products and materials, but I appeal to those who aremanufacturing the products used in our buildings to adhere tothe vibrant, basic colors and skip the outlandish ones. RecentlyI visited one of my friends and saw the current vogue of purpleused for bathroom tile. I could foresee that, within a possible two,three, or five years, a plumbing repair might have to be madeand this purple tile would be broken. Then, as many times occurs,these people will seek to replace the tile and it will no longer bein inventory.

I've had many customers come to me requesting informationas to the purchase of certain colors of asbestos shingles or roofshingles, or various shades of ceramic tile and floor tile, and Ifind that within the elapsed period these former colors have changedin texture and mottling, so it is very difficult to tell people whereto go to replace these vital items. This can, of course, be a verygreat anroyance and quite costly. Imagine having to retile an entirebathroom because three or four of the tiles are broken. So, again,we need to protect our customers against the fading of colors, orplanned obsolescence.

We must strive to provide better protection for our colors, tosee that they do not break, chip, crack or craze in handling andshipping. Then, too, communication must be improved between ourpersonnel -- installers and service men -- in order to see thatthey do not spoil the wonderful colors that the manufacturersprovide. All these things can help us to assure better quality,better service, and better homes for the future.

Color in Interior DesignBy Gladys Miller, New Homes Guide and Home Modernizing Guide

By occupation I am an editor; by profession I am an interiordesigner. The American Institute of Interior Designers defines aninterior designer as one who, through training and/or experience,can plan, design, and execute an interior and work with the varioustrades and craftsmen therein involved. We have for about 15 yearstried to establish licensing for interior designers, the way thearchitects are licensed, and we haven't given up, but we are up

MILLER, GLADYS. Editor, New Homes Guide and Home Moderni-zing Guide; honorary Doctorate of Fine Arts, Moore Institute ofArt, Science & Industry; member, American Institute of InteriorDesigners, Illuminating Engineering Society, Inter-Society ColorCouncil; National Home Fashions League, The Fashion Group,Decorators Club.

PANEL DISCUSSION 41

against a hard lobby in every state of the Union. In one state$80,000 was spent to lobby in the state capitol to keep us frombeing licensed. In the meantime we have gone to the schools tohelp perfect their curriculums, and we now have about 50 colleges,universities, and art schools throughout the country offering afour-year course in interior design.

To be a member of the American Institute of Interior De-signers, one must have four years of academic education andfour years of apprenticeship with some industry or interior de-signer in the field, or ten years of practical experience. Theprofessional interior designer regards color and its use as hispersonal property. If or when he takes the time or trouble to learnthe complex and fascinating facts and theories held about colors,he is apt to feel that nosy strangers are intruding into his specialdomain. But today, this interior designer is learning to be articu-late about the way he uses color, and the way he can communicatehis use of color to the other people.

There is one area in which I would like to be non-conformist:today we have two markets in color, a class market and a massmarket. The class market is always going to be here, I am sure,because we are always going to have wealthy people, some withtaste and some without, who are going to demand what the massmarket doesn't have. We also find that interior designers are nolonger working only on residences. Today we are doing all typesof buildings, as well as planes, hospitals, and a great many otherthings, mainly because we cannot afford to do the individual low-cost house.

Today the interior designer is accepting and formulating a pro-fessional vocabulary that must be universally accepted if his pro-fession is to be understood and recognized by the related artsand sciences. The need for methods of conununication in the artsis not new. It has taken years for the musical profession to de-velop its own terminology. Musicians more clearly define modernmusic than we define modern furnishings or decorative or archi-tectural style. Have musicians matured to face facts? Do we duck?The ballet world is in the process of creating symbols whichrecord the choreography of the dances for all time. When slowmotion photography failed, the dancers turned to a code known asthe Labanotation system. Rudolf Laban spent 50 years studyingthe dance and body movements. He was the first to score thedances. His studies are now used as visual aids for those interestedin old and new dancing forms. His system is used to record allnew dances.

The interior designer can use the sketch, rendering, ele-vation, and perspective drawings, as well as the camera, to recordinterior design in its stages of development. But these will never becomplete without a language which can explain how, why, what andwhere each move was made to make the final results satisfactory.

"r 7


Colors, to the decorating world, are those colorants found in

the materials of decoration, paint, wall covering, floor covering,upholstery, and decorative accessories, as well as the stones and

building materials which the architect or builder has used.To be successful, the interior designer must know how to corn-

bine many colors in the materials of decoration in a way that issatisfactory to himself and to his client, and incorporate them

into his design. What is more, he must know how to distributethese colors in the given areas of interior space to create a com-fortable environment. He must know how to balance the lights anddarks, the strong and the weak, the neutral and vibrant colorsselected. These colors must be attractive at all hours of the dayunder natural as well as artificial light. They need not match,

but they must be harmonious.Rarely does the interior designer use only one color. If he does,

he uses several values and several textures. His interest is tocombine several colors in various textures and forms within agiven area or space to create a mood or an atmosphere. Whetherthese colors are pleasing depends on his knowledge and his ex-perience. Seldom does he have the time or desire to be scientificin his approach. Rarely has he had the opportunity of working in

the experimental laboratory although, without realizing it, he oftenemploys the experimental process in the trial-and-error method.

Eleanor La Maire, a very famous designer, said: "If I had amotto it would be, 'let there be color'." The secret of using coloris knowing how to put two colors together. I used to go to the Chi-nese theatre in San Francisco, and the costumes were simply

gorgeous. They would use red and pink smack up against each other,as we would never think of doing, but here is the catch -- the Chi-nese put a tiny thread of white between the two colors which theeye would just skip over. They know that white edits color.

William Baldwin, an excellent New York interior designer, hasdescribed how he works in doing an interior.

"A restrained background of floor, wall, ceiling, andcurtainscan substitute for, or enormously help, the awkward archi-tectural proportions created by a low ceiling. I think verydefinitely we must have the walls and curtains the same color.It would be a grave error to have the long wall split by a lengthof contrasting colors in the curtains. As the ceiling is only8' 6" high, division by color would emphasize the lack of height.To give the further illusion of height in a room the ceiling andbeams should be painted a slightly lighter shade than the walls.I am not considering specific colors but only what, for the sakeof the atmosphere and portion, should be light and what shouldbe dark in tone. Deciding the actual color nearly always comeslast. Since the shape of the room itself and the furniture arrange-ment make up the structure of the room, color is like the icingon a cake. I never begin with a color scheme, but a color plan.

crA

PANEL DISCUSSION 43

"Finally, we come to the floor which is the foundation ofthe room. I insist that the floor be the same color as the wall,only darker to make a base. Now, the room moves from itsdark floor shade up into the medium shade for walls and wood-work and curtains, and on to the light shade to help lift thebeamed ceiling. The large sofa takes the same fabric as thecurtains, whatever we decide. Large, immovable furniture shouldbe quietly permanent. Chairs can be as brilliant as one wishes.The two upholstered chairs will have covers of patterned cloth.With walls and curtains the same color, paintings do not haveto compete with them in color. An uncluttered background neverresults in monotony or dullness. It creates calmness andserenity and brings out the best in good furniture. I recom-mend a dark color scheme for bad furniture and a light schemefor good furniture. By dark I never mean dull; I mean bril-liantly dark."To live with color offers the satisfaction of colorful living.

Ludwig Heydenreich, a German scientist, says, "Experiences, afterall, are something to be evaluated, whereas experiments areconducted so that the results can be measured. In every scientificexperiment our senses serve merely as controls, imperfect tools,while true experience is always based on the immediacy and fullnessof our sensory perceptions." Now, he says something here that Ithink is very important to this conference. Thus, we in the artworld have reached the second meeting point of art and science,where the two seem once more to enter a meaningful relationship,although on terms rather different from those met first in thesixteenth century.

Designers classify color as advancing and receding. warm andcool. The latter designation does not mean that colors actuallychange temperature, but indicates the psychological effect thatcolors have on the person and the appearance of the room or thespace. The decorator's .txperience has taught him the value ofthe psychology of color to his clients. He has learned the value ofcolor selection in creating this mood, the atmosphere and the de-gree of comfort required. He has learned to use color to camou-flage architectural defects or mediocre furnishings the clientwishes to use. If all related professionals or industries wouldaccept the experience of others, and would find a way to use thesame terminology, quicker progress could be made, but it willbe necessary for each to have a working knowledge with the colorsystem. We in AID are now working toward the end that in fiveyears all schools and colleges that teach color to architecture,art, decoration and science students will teach it exactly the sameway, and will teach the same system.

Open Forum Discussion

Moderator: Richard N. Jones, all Panel Members participating

Mr. Jones: I want to call on one of the most distinguished of allthe past-presidents of the National Association of Home Builders,Alan A.irockbank. Will you give us a few remarks on this ques-tion? Do you see in the Inter-Society Color Council programa valuable tool that the builders of America can put to workimmediately to simplify the color problem?

Alan E. Brockbank, Community Construction Corporation: In the lasttwo months I've spent almost all of my time traveling in variousparts of the United States looking at projects that for variousreasons were outstanding. I have found one thing indeliblymarked on every successful project, and that is, there hasbeen a very outstanding decorator involved in the planning andthe showing of the houses. This is something that I have beenimpressed with in the past, but never as much as now.

The color consultants, the people who are really able touse color correctly, were never in such demand. I am verymuch pleased to have the opportunity to learn more about theidentification of color through this conference. We use colorin our own production of houses. We are in an area where weuse brick, and you can have any color you want as long as it'sred. However, we are rapidly changing, in my opinion, fromthe house of yesterday that was immovable, to a house that isgoing to be movable. I recently heard a prediction by a well-known authority that 10 years from now, bankers would befinancing movable houses. If you have a location that you like,but don't like the house, you sell that house, have it movedaway, and put up another one that you do like.

In a low-cost housing project opened at San Antonio a fewweeks ago, the most outstanding house was a movable house.Most of us haven't seen the newest models of these mobilehomes, but we should do so. It appears evident that within avery short time we are going to be building structures of allkinds and delivering them in two, three, or four sections. Thewhole house is movable in the case of the San Antonio model.This, again, suggests dissatisfaction on the part of people, andalso suggests that maybe people would be much happier if theyknew more about color.

I can assure you that the National Association of Home

44

OPEN FORUM DISCUSSION 45

Builders, and every other group that I happen to contact, thereal estate boards, the lumber manufacturers, etc., are deeplyinterested in color. I hope that BRI and others will see fit todevelop further some type of color system, and I hope that itbecomes universal at an early date, before we go off on atangent and can't rescue ourselves from some of the horriblecolors that some of our customers sometimes want.

Dorothy Nickerson, U. S. Department of Agriculture: In this con-ference on the identification of colors for building, we can'tsolve all these problems and do all these things we've beentalking about, unless you have a language for color. Even thedictionary has its problems with this. For instance, take theword, mauve. How do you describe it so that you convey some-thing about it? The very thing we have been discussing isillustrated in the new Merriam-Webster Dictionary with a two-page spread of color plates that describe the situation exactly.The language must tell you what to do with something, whereyou put it, etc.

Milo D. Folley, Sargent, Webster, Crenshaw & Folley: How canwe identify materials having variegated or blended color pat-terns, such as marble and asphalt tile?

Mrs. Bellamy: Each different area of color may be identified in-dividually by Munsell notation and specified in relation to itsparticular area. Or, if the identification of the over-all coloreffect is desired, a Munsell notation can be obtained for theappearance of the surface when blended whetherby rapid rotation(such as in disk spinning) or by use of a diffusing lense.

R. S. Thompson, Porcelain Enamel Institute: How closely do theISCC-NBS painted color chips match each other from batchto batch?

Mr. Kelly: In the production of centroid colors, which I am work-ing on right now, we are holding those to a very close tolerance.This is called the AAA tolerance by Munsell. It's about oneNBS unit, a very small unit of color.

Mr. Folley: What is cost of NBS Bulletin 553? When is it to beavailable in its completed form? Will the color chips be in-cluded? What will that cost?

Mr. Kelly: The Dictionary of Color Names is available now fromthe Superintendent of Documents for $2.00 a copy. We arehoping to get the color-name charts ready in the early summer

t_VI4N.1.61.2,N.A"

',4"1


of 1963. They are to be sold separately from the Dictionary,probably at a cost somewhere around $2.00 or $3.00 per set.We are hoping that in a future reprintingof the Dictionary thesewill be incorporated in the Dictionary, so that it will be a self-sufficient volume We are just about at the end of the thirdprinting of the Dictionary.

W. R. Wyckoff, Fabco Division, Townsend Co.: Our major problemis economics, since we must match fasteners to variousmanufacturers' building products -- an expensive process in-volving acrylics and spectrophotometrics. Potentially, we wouldhave to match thousands of hues. Do you have any suggestionsfor accomplishing this at low cost?

Mr. Call: Your first problem is to identify the color you are tryingto match, and do that as easily and quickly as possible. Theacceptance and use of the common color language we discussedprovides this means of easy identification of color. This savesone cost of measuring each sample that you get. Because ofthe fact that many industries and products will be reported,their use of color will be reported, and you will be able todetermine the use of color by the various products with whichyour fasteners are going to be used.

Unsigned Question: The effect of various types of illuminationon color has been mentioned. Can someone-discuss this phasein more detail?

Miss Miller: There are two problems in illumination of colors.First, we are dealing with two-typesof illuminants, incandes-cent and fluorescent. It is possible to maintain a color toleranceif you know which is going to be used. Unfortunately, if this isa commercial building, there are about 10 or 15 different tubesin the fluorescent family, all of different colors. When themaintenance man comes along, he often does not use the onethat the colorist very carefully worked out in order to maintainthe proper color. If you are using a deluxe warm white, hewill frequently put in a cold white instead, so you are in constanttrouble. The Federal Savings Bank in Detroit had worked out avery careful color plan, but they could not get the maintenancepeople to replace the tubes properly. Now, they have trainedand put on their own maintenance crew.

The one thing particularly needed now is that more peopleknow about the difference in lighting, and realize that artificiallight and daylight react differently on colors. Also, in mostcases, you do not need the same level of light at night that youdo in the daytime. What you do need is attractive, comfortable,and harmonious lighting at night. Many of the people working

OPEN FORUM DISCUSSION 47

on this problem have been trying to get the same tolerance bynight lighting that they do by daylight, and they cannot do it.It is a matter of choosing the type of lighting you want to useand the placement of it, and also of achieving a level of lightfor daytime that is attractive and workable, plus attractiveand a usable light by night.

This conference room for instance, will probably not berelighted for some time, yet there conceivably will be fivedifferent color schemes or plans used in this room. Architectscould save their clients a great deal of money, in rooms of thiskind, if in planning new decorating schemes they knew how muchreflectance this lighting was going to give on every wall, andhow much absorption. If the architect puts that on his blue-print, then anyone going to redecorate the room would knowhow to use the light properly. If he marks the reflectances andthe absorption percentages for the given lighting system, Y.can be extremely helpful.

+r,

Expression of Historical Usage

Interim Report of ISCC Subcommittee on Problem 23

1. HISTORYAt the 1957 Annual Meeting of the Inter-Society Color Council

(ISCC), a delegate from the National Paint, Varnish and LacquerAssociation (NPVLA), suggested (3) that there was a need for astandard technique of recording historical color usage of consumerproducts in order to facilitate inter-comparisons among industries.In June 1957, delegates from the National Paint, Varnish and LacquerAssociation discussed with the ISCC Board of Directors the possi-bility of establishing an ISCC problem on this subject. After ameeting and discussion with representatives of other interestedmember bodies, and a recommendation of the Problems CommitteeChairman, Problem 23 -- Expression of Historical Color Usage --

was formally established at the October 1957 meeting of the Board.

The subcommittee was appointed, and studies were immediatelyand enthusiastically initiated.

The objective of this Subcommittee was "to develop a technique

of expressing historical color usage of consumer products in orderto facilitate intercomparisons among industries." This objectivewas elaborated as follows in the prospectus offering the ISCC setsof centroid colors to industry: "To derive compatible methods forrecording historical consumer color preferences for products inindividual industries, to publicize these methods and encourage allindustries to adopt them so that (1) useful historical records ofconsumer preference trends of their products may be availablewithin individual industries, and (2) the interrelationship of con-

sumer color preference of one product upon the choice of anotherproduct may tie established among industries."

This subcommittee held a number of meetings in New York,

Philadelphia, and Washington and studied several proposedmethods. The need for an appropriate set of color samples was

This Interim Report of the ISCC Subcommittee on Problem 23 isreprinted here in its entirety by permission of the Inter-SocietyColor Council.

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4/49

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soon found to limit progress, and several such sets were offeredand studied. Since the ISCC-NBS (Inter-Society Color Council --National Bureau of Standards) system of color names (13) hadbeen developed to give a commonly understood name to each groupof colors considered significantly different, the subcommittee de-cided that a set of colors representative of the centroids (11) ofthe ISCC-NBS color-name blocks could be a logical starting point.

The ISCC Board of Directors reactivated the Subcommittee onProblem 2 -- Color-Names -- in November 1958 for the purpose ofproducing a set of colored samples representing the centroidsof the ISCC-NBS color-name blocks, hereinafter called the ISCC-NBS centroid colors. The fact that the boundaries of the ISCC-NBScolor-name blocks were completely specified in terms of theMunsell system (and therefore, by extension, in terms of anyrecognized and specified system) weighed heavily in this decision.Methods for handling statistical color usage data based on thissystem were developed in a program paralleling the productionof the colored samples. The 1959 NPVLA Annual Paint ColorSurvey (18) (reporting color usage during 1958) was preparedutilizing these techniques, including use of the ISCC-NBS color-name blocks, which were found well suited for expression of colorusage in the paint industry. Whether these blocks will be suitedto all industries is to be determined by further committee study.

The Munsell color system (2, 16, 17) was used in the NPVLAColor Survey for the fine designations, due to its simplicity andits use in the ISCC-NBS system. However, the Color HarmonyManual (5, 6, 8, 25-- Ostwald system) or any other color desig-nation system which has a sufficient number of colored samplesto satisfy the demands of the user, can be used for such a purpose.Any recognized color system is translatable into the ISCC-NBSsystem of color-name blocks (13).

2. COLLECTION AND ORGANIZATION OF SAMPLESA company desirous of studying its sales by color would pre-

pare a report for each product which would contain the percentageof total sales represented by each color used for that product. Thiswould necessitate the collection of typical samples of that productfor classification and color measurement. These samples mightbe segregated into groups, not only according to color but alsoaccording to any other importantly different characteristics, as inthe 1959 NPVLA Report which gives a breakdown under the head-ings: all-purpose enamels, latex paints, exteriorpaints and interiorflats, the samples in each group to be ordered according to color,and each marked with its percentage-of-sales figure.

Data sheets such as those in Appendix A are designed for usein collecting such information. The details are requested to supplypertinent information that will permit future studies of colortrends by product, color, industry, location, etc. Each sheet

f

APPENDIX 51

should be completed to provide for future statistical evaluationsof a particular product.

3. DETERMINATION OF COLOR DESIGNATION

There are a number of methods for determining the designationof a color, each differing in the degree of precision of specifi-cation. A choice of five levels of precision is suggested by thecommittee, varying from the more precise to one so general thatIt provides for a total of only 13 color groups. The most accurateand precise method (a) is determined from instrumental measure-ment and numerical specification of the color in terms of C.I.E.(x,y,Y) or Munsell H V/C carried to suitable decimal limits. Thenext most accurate specification (b) is in terms of the notationsof the nearest matching color chips of such systems of colorsamples as the Munsell and Ostwald collections, each having wellover 1,000 samples. The next finest of the five levels (c) used inthis method is a fractionation of psychological color space intoa limited number of blocks such as is represented by the 267blocks in the ISCC-NBS system of color names. The adequacyof this fractionation in meeting the objectives of the committeeis in some question, and several members of this sub-committeeare now engaged in testing whether some revision of the ISCC-NBSsystem may not be better suited to certain industries.

In the meantime, the subcommittee recommends use of theISCC-NBS system. Tentatively recommended is the next moregeneral grouping (d), which consists of 26 ISCC-NBS hue names,plus white, gray and black, and finally the most general grouping(e), which consists of the 10 principal ISCC-NBS hue names, pluswhite, gray and black. Each level of precision of specification ofthe color (a,b,c,d), may be converted easily into the next moregeneral level; that is, specification by method (a) can be convertedto (b); (b) to (c), and so on.

(a) The designation of a color may be determined mostaccurately by measurement of the color by a spectrophotom-eter, with integration to obtain colorimetric specifications.Tristimulus colorimetry, with appropriate safeguards, can alsobe used to obtain an equivalent specification. The numericalresults of these measurements are in terms of tristimulusvalues X, Y, and Z, or in chromaticity coordinates x,y, and Y,daylight reflectance (9). These may be translated into Munsellnotations by use of conversion charts contained in the FinalReport of the O.S.A. Subcommittee on the Spacing of the Mun-sell Colors (19), by use of published tables (7, 12, 21), or bythe use of automatic data processing machines suitably pro-graznmed (10, 23, 24). This method is in accord with the Ameri-can Standards Association's method for measuring and speci-fying color, Z58.7.1-3-1951 (1).


(b) The Munsell notation of a color may be determined toa good approximation by comparing it visually with the colorsamples in the Munsell Book of Color (see ASTM Method

D 1535-58T for specifying color by the Munsell System (2)).The Munsell notation may also be determined from the Ostwaldnotation of the Color Harmony Manual (CHM) by convertingthe CHM notation into a Munsell notation by tables (4). The

same procedure may be followed if the notation of the colorhas been determined by use of the first edition of the Maerzand Paul Dictionary of Color (14, 20) or by the Plochere ColorSystem (15, 22).

(c) If the ISCC-NBS color-name method of reporting is tobe used, it can be done by first obtaining the Munsell notationfor a color and converting it to the ISCC-NBS designation byuse of the tables in NBS Circular 553. By use of the centroidsamples, the ISCC-NBS name for a color may be obtained morequickly and easily by comparing it directly with the ISCC-NBS

centroid samples and determining which of these is closest tothe color of the particular sample. The color steps are fewerthan those provided by the Munsell notation, but they may besufficiently close for many industrial purposes. If the coloris about equally different from two centroids, the centroidwhose name is most descriptive of the color of the sampleshould be used. These figures, the ISCC-NBS color-name blocknumber, and the percentage-of-sales figure, may be entereddirectly on the data reporting sheets.

4. STATISTICAL TREATMENT

The ultimate value of this program to a manufacturer is theknowledge of the relative sales of different colors in any productfor specific periods of time. Color usage may be graphed on the13-color level (e) as was done in the NPVLA Report. Admittedly,the identification of small or precise color ranges in such a plotis not possible, due to the wide range of samples statisticallyincorporated into each group. For closer color identification, thenumber of groups used in the report should be larger. The nextlevel (d) which is proposed contains 29 groups. This number fstoo large to graph, so such data would be presented in tabularform.

For greater precision in identifying specific colors and for pro-

viding information regarding changes in certain small color ranges,the level (c) represented by the 267 ISCC-NBS centroid colors, orby possible revisions thereof, would be used for tabulation. lf,thefineness of this level of specification is not sufficient, and informa-tion regarding changes in smaller color ranges is desired, Munsellnotations (b) in whole numbers should suffice. Greater precisioncan be obtained by using Munsell notations to one or two decimals,

APPENDIX 53

or from the use of chromaticity coordinates and daylight reflec-tance determined by an instrument (method a), but only in excep-tional cases will such precision be required for use in reportingcolor usage.

An appropriate fractionation of color space, such as theISCC-NBS system, is ideal for statistical treatment of data re-corded by methods a,b,c,d, and e. To be useful, it should be pos-sible to convert tristimulus values or chromaticity coordinatesinto an appropriate designation by simple graphical or machinemethods. Then Munsell notations, For example, can be convertedinto ISCC-NBS color designations by the color-name charts inNBS Circular 553. The subsequent three steps in the roll-up tech-nique are described in Section 5, and fn Appendixes B and C.

Appendixes B and C give the groupings at two levels (c and d)of the roll-up technique. Appendix B lists the ISCC-NBS color-name blocks which are combined into the 29 larger groups repre-sented by the 26 hue names and white, gray, and black (method d).Appendix C lists the 10 main hue names and white, gray and black,which comprise the 13 larger principal color-name groupings(method e). The principal colors are pink, red, orange, brown,yellow, olive, yellow green, green, blue, purple, white, gray, andblack. Thus, data recorded to any fineness (a,b,c,d,e) of colordesignation can be statistically combined.

This method does not provide a measure of amounts of colorused, but it does present a measure of public acceptance of thecolors of products offered. Hence, the principal requirement isthat the sum of all percentage figures in each grouping musttotal 100%. For example, the sum of the percentage of sales ofthe nine colors of a company's product must total 100%. If thisreport is combined by addition with another report with its per-centage-of-sales figures of seven colors, the total of the per-centage-of-sales figures would equal 200%. Therefore, at each leveland at every combination of data, percentage-of-sales figuresmust be averaged instead of added. In this way the total will alwaysbe 100%, and the proportionality of each item to the whole is notchanged. This is the system used in the NPVLA Annual Report,and is on the basis of dollar-value of sales. The same methodmay be used with any other significant index, such as gallons, orsquare feet.

5. AN EXAMPLEAppendix D is an example of how Company A would report its

usage of color by method (b). Part I (b to c) shows only a portion,the Pinks, of the detailed report. Here the usage of color is re-ported by Munsell notations (as stated above, the Color HarmonyManual or any other color designation system which has a suffi-cient number of colored samples to satisfy the demands of the

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J


user, can be used) which are grouped under the proper ISCC-NBScolor-name blocks. This is a characteristic step in the roll-uptechnique; data recorded by method (b) may be rolled up to berecorded in terms of method (c). Note that the sum of the indi-vidual percentage-of-use figures of each individual Munsell nota-tion (method b) is given for that particular ISCC-NBS color-nameblock (method c). The same procedure is followed for each color-name block. The color-name charts in NBS Circular 553 are usedfor this purpose.

The next step in the roll-up technique is illustrated in Part II(c to d). Here the individual color-name blocks of method c aregrouped together according to the 29 name blocks of method d,by use of the lists in Appendix B under the different hue names,such as purplish pink (pPk), Pink (Pk), and yellowish pink (yPk).The sum of the individual color-name-block totals is assigned tothe color-name group.

Part III illustrates the use of the roll-up technique in combiningthe 29 groups of method d into the 13 main name groups of methode, as illustrated in Appendix C. Again, the totals assigned to the29 groups of method d, are added and assigned to the 13 maingroupings of method e. Part IV consists of a table showing thepercentage of color usage in each of13main color name groupings,as obtained by use of the roll-up technique described.

Now, if Company B reported its usage of color on the 13 color-name level (e) it would be possible to combine its results withthose of Company A. Appendix E shows in the first three columnsof Part I, the data from Part III of Appendix D. The data fromCompany B are entered in column 4. The sum of ,;ach is equal to100%. When the totals for A and B are summed in column 5, thetotal is 200%. When the totals are divided by the number of setsof data that are combined, the average is still 100% and the rela-tive proportion of one item to another item, or to the whole, is notchanged. The same technique would be used if the color data tobe combined were given in terms of the Munsell notation (method b)or in terms of chromaticity coordinates (method a). If severalsets of data are combined to get the average, the totals would bedivided by the number of sets used.

Part II of Appendix E consists of a table showing the finalresults obtained by use of the roll-up technique for the combinedor average color usage data for Companies A and B, in terms ofthe 13 name groupings of method e.

6. THE INDUSTRY OR COMPANY REPORTAn industry or company report should conform to the guide-

posts laid out above, the actual form of the report to be governedby its use. It may illustrate one or more of the five levels (a,b,c,d,c) of fineness of color specification, depending upon the need.

APPENDIX 55

Use of a method such as the one described here permits anindividual company to compare color experiences and trends with-in and between industries and products. Hence, while individualcompanies may adopt their own designations for color standards--even report on them by these designations on an industry basis--itis important that these standards be specified in such a way thatthe data can be fitted into one or another of the levels (a to e) ofthe above method in order that comparisons may be made withcolors used for other products and in other industries.

COMMITTEE MEMBERSHIP

A. J. BenjaminElizabeth Burris-MeyerE. R. Call, Co-ChairmanC. E. FossW. C. GranvilleElschen Hood

Martha JungermanK. L. KellyF. H. RahrHelen D. Taylor, Co-ChairmanOuida WessmanMidge Wilson

F. L. Wurzburg6/30/60

BIBLIOGRAPHY

1. American Standards Association, American Standard Methodsof Measuring and Specifying Color, Z 58.7.1-3-1951, approvedApril 13, 1951.

2. American Society for Testing and Materials, Committee D-1,Method of Specifying Color by the Munsell System, ASTMDesignation: D1535-58T, issued, 1958.

3. Call, E. R., A statistical analysis of color preference, part ofISCC Symposium on "Recent History of Consumer ColorChoice," New York, March 6, 1957.

4. Granville, W. C., Munsell renotations of Color-Harmony Manualchips from spectrophotometric measurements, unpublished.Available from Container Corporation of America, Chicago, Ill.

5. Granville, W. C., Foss, C. E., and Godlove, I. H., ColorHarmony Manual; Colorimetric analysis of third edition, J. Opt.Soc. Am. 40, 265A (1950).

6. Granville, W. C., and Jacobson, E., Colorimetric specificationof the Color Harmony Manual from spectrophotometric mea-surements, J. Opt. Soc. Am. 34, 382 (1944).

7. Granville, W. C., Nickerson, D., and Foss, C. E., Trichoro-matic specifications for intermediate and special colors ofthe Munsell System, J. Opt. Soc. Am. 33, 376 (1943).

8. Jacobson, E., Granville, W. C., and Foss, C. E., Color Har-mony ManuaL Container Corporation of America, Chicago,Illinois, 1948, third edition.

9. Judd, D. B., The 1931 I.C.I. standard observer and coordinatesystem for colorimetry, J. Opt. Soc. Am. 23, 359 (1933).


10. Keegan, H. J., tt al., Digital reduction of spectrophotometricdata to Munsell renotations (Abstract), J. Opt. Soc. Am. 48,863A (1958).

11. Kelly, K. L., Central notations for the revised ISCC-NBScolor-name blocks, J. Research, NBS 61, 427-431 (Nov. 1958);RP2911.

12. Kelly, K. L., Gibson, K. S., and Nickerson, D., TristimulusSpecification of the Munsell Book of Color from spectropho-tometric measurements, J. Research, NBS 31, 55 (1943);RP1549.

13. Kelly, K. L., and Judd, D. B., The ISCC-NBS method of desig-nating colors and a dictionary of color names, NBS Circular553, Nov. 1, 1955.

14. Maerz, A., and Paul, M. Rea, A Dictionary of Color, firstand second editions, McGraw-Hill Book Company, Inc., 1930,1950.

15. Middleton, W. E. Knowles, The Plochere color system; a de-scriptive analysis, Canadian J. Research, F.27, 1-21 (1949);N.R.C. No. 1856; also J. Opt. Soc. Am. 39, 632A (1949).

16. Munsell, A. H., A Color Notation, 10th edition, Munsell ColorCompany, Inc., Baltimore, Md., 1954.

17. Munsell Color Company, Munsell Book of Color, 1929-42,1950, 1958 editions, Munsell Color Company, Inc., 2441 NorthCalvert Street, Baltimore 18, Md.

18. National Paint, Varnish and Lacquer Association Color Survey,1959, National Paint, Varnish and Lacquer Association, Inc.,Washington 5, D. C., June 1959.

19. Newhall, S. M., Nickerson, D., and Judd, D. B., Final reportof the OSA subcommittee on the spacing of the Munsell colors,J. Opt. Soc. Am. 33, 385 (1943).

20. Nickerson, D., Interrelation of color specifications, PaperTrade J. 125, 153 (1947).

21. Nickerson, D., Tomaszewski, J. J., and Boyd, T. F., Colori-metric specifications of Munsell repaints, J. Opt. Soc. Am.43, 163-171 (1953).

22. Plochere, G., and Plochere, G., Plochere Color System, AGuide to Color and Color Harmony, Fox Printing Company,Los Angeles, Calif., 1948.

23. Reinboldt, W. C., and Menard, J. P., Mechanized conversion ofcolorimetric data to Munsell renotations, J. Opt. Soc. Am.,50, 802-807, (August 1960).

24. Schleter, J. C., Judd, D. B., and Keegan, H. J., Extension ofthe Munsell renotation system (Abstract), J. Opt. Soc. Am.48, 864A (1958).

25. Taylor, H. D., Knoche, L., and Granville, W. C., DescriptiveColor Names Dictionary, Container Corporation of America,Chicago, Ill., 1950.

APPENDIX 57

APPENDIX A, PART I

ISCC COLOR TREND SURVEYECONOMIC DATA SHEET

DAT E

FOR PERIOD

INDUSTRY PRODUCT

NAME OF COMPANY

ADDRESS

REPORTING OFFICER TITLE

TYPE OF BUSINESS: MFG. WHOLESALE RETAIL CHAIN

RETAIL IND. DISTRIBUTOR MAIL ORDER

RAW MATERIAL PRODUCER OTHER

LOCATION OF MFG. OR RETAIL SALE: CITYSTATE

RELATIVE VALUE OF PRODUCT: HIGH MEDIUM LOW

FINISH: GLOSSY SEMI-GLOSSY TRANSPARENT

MAT TRANSLUCENT OPAQUE OTHER

NUMBER OF COLORS USED ON THIS PRODUCT: ONE TWO

THREE MULTI .

APPENDIX A, PART II

ISCC COLOR TREND SURVEYCOLORIMETRIC DATA SHEET

REPORT FOR PERIOD DATE OF REPORT

NAME OF COMPANY

INDUSTRY PRODUCT

Number of % of Total SalesISCC-NBS of this Product

Color-Name RepresentedNotation Munsell Block by Each Color


APPENDIX BNumber and Abbreviation of the ISCC-NBS Color-Name Blocks

Comprising Each of 29 Color-Name Groups (Method d)1. PINK-- 1.v, 2.s, 3.deep, 4.1, 5.m, 6.d, 7.p, 8.gy.2. RED-- 11.v, 12. s, 13. deep,14.v. deep, 15.m, 16.d, 17.v.d., 18.1.gy,

19.gy, 20.d.gy, 21.blackish.3. YELLOWISH PINK -- 25.v, 26.s, 27.deep, 28.1, 29.m, 30.d, 31.p,

32.gy, 33.brPk.4. REDDISH ORANGE -- 34.v, 35.s, 36.deep, 37.m, 38.d, 39.gy.5. REDDISH BROWN -- 40.s, 41.deep, 42.1, 43.m, 44.d, 45.1.gy, 46.gy,

47.d.gy.6. ORANGE -- 48.v, 49.brill, 50.s, 51.deep, 52.1, 53.m, 54.brownish.7. BROWN -- 55.s, 56.deep, 57.1, 58.m, 59.d, 60.1.gy, 61.gy, 62.d.gy.8. ORANGE YELLOW -- 66.v, 67.brill, 68.s, 69.deep, 70.1, 71.m, 72.d,

73.p.9. YELLOWISH BROWN -- 74.s, 75.deep, 76.1, 77.m, 78.d, 79.1.gy,

80.gy, 81.d.gy.10. YELLOW -- 82.v, 83.brill, 84.s, 85.deep, 86.1, 87.m, 88.d, 89.p,

90.gy, 91.d.gy.11. OLIVE BROWN-- 94.1, 95.m, 96.d.12. GREENISH YELLOW -- 97.v, 98.brill, 99.s, 100.deep, 101.1, 102.m,

103.d, 104.p, 105.gy.13. OLIVE -- 106.1, 107.m. 108.d, 109.1.gy, 110.gy, 111.d.gy.14. YELLOW GREEN -- 115.v, 116.brill, 117.s, 118.deep, 119.1, 120.m,

121.p, 122.gy.15. OLIVE GREEN -- 123.s, 124.deep, 125.m, 126.d, 127.gy, 128.d.gy.16. YELLOWISH GREEN -- 129.v, 130.brill, 131.s, 132.deep, 133.v.deep,

134.v.1, 135.1, 136.m, 137.d, 138.v.d.17. GREEN -- 139.v, 140.brill, 141.s, 142.deep, 143.v.1, 144.1, 145.m,

146.d, 147.v.d, 148.v.p, 149.p, 150.gy, 151.d.gy, 152.blackish.18. BLUISH GREEN -- 158.v, 159.brill, 160.s, 161.deep, 162.v.1, 163.1,

164.m, 165.d, 166.v.d.19. GREENISH BLUE -- 167.v, 168.brill, 169.s, 170.deep, 171.v.1, 172.1,

173.m, 174.d, 175.v.d.20. BLUE -- 176.v., 177.brill, 178.s, 179.deep, 180.v.1, 181.1, 182.m,

183.d, 184.v.p, 185.p, 186.gy, 187.d.gy, 188.blackish.21. PURPLISH BLUE -- 194.v, 195.brill, 196.s, 197.deep, 198.v.1, 199.1,

200.m, 201.d, 202.v.p, 203.p, 204.gy.22. VIOLET -- 205.v, 206.brill, 207.s, 208.deep, 209.v.1, 210.1, 211.m,

212.d, 213.v.p, 214.p, 215.gy.23. PURPLE -- 216.v, 217. brill, 218.s, 219.deep, 220.v.deep, 221.v.1,

222.1, 223.m, 224.d, 225.v.d, 226.v.p, 227.p, 228.gy. 229.d.gy,230.blackish.

24. REDDISH PURPLE -- 236.v, 237.s, 238.deep, 239.v.deep, 240.1,241.m, 242.d, 243.v.d, 244.p, 245.gy.

25. PURPLISH PINK -- 246.brill, 247.s, 248.deep, 249.1, 250.m, 251.d,252.p, 253.gy.

26. PURPLISH RED 254.v, 255.s, 256.deep, 257.v.deep, 258.m, 259.d,260.v.d, 261.1.gy, 262.gy.

27. WHITE -- 263.white, 9.pk, 92.y, 153.g, 189.b, 231.p.28. GRAY-- 264.1ight gray, 10.pk, 93.y, 154.1.g, 190.1.b, 232.1.p,

265.medium gray, 22.r, 63.1.br, 112.1.01, 155.g, 191.b, 233.p, 266.darkgray, 23.d.r, 64.br, 113.01, 156.d.g, 192.d.b, 234.d.p.

29. BLACK-- 267.black, 24.r, 65.br, 114.01, 157.g, 193.b, 235.p.

eM-2

APPENDIX C

.1.41:75fm

APPENDIX

Sreatte.st%Maiiji.404

29 Name Groups (Method d) Combined into13 Main Name Groups (Method e)

1. PINK-- Purplish Pink, Pink, Yellowish Pink,

2. RED-- Purplish Red, Red,3. ORANGE -- Reddish Orange, Orange,4. BROWN-- Reddish Brown, Brown, Yellowish Brown,5. YELLOW --Orange Yellow, Yellow, Greenish Yellow,

6. OLIVE-- Olive Brown, Olive, Olive Green,7. YELLOW GREEN-- Yellow Green,

8. GREEN-- Yellowish Green, Green, Bluish Green,9. BLUE -- Greenish Blue, Blue, Purplish Blue,

10. PURPLE -- Violet, Purple, Reddish Purple,11. WHITE-- White,12. GRAY-- Gray,13. BLACK -- Black.

APPENDIX D, PART I (b to c)

59

PercentISCC-NBS Color of

Designation, Number & TotalMunsell Notations Sold

ISCC-NBS ColorDesignation, Number, &

Munsell Notations

Percem.of

TotalSold

Brilliant Purplish Pink (246) .02 Light Pink (4) .813RP 8/10 .02 4R 9/4 .25

6R 9/6 .56Strong Purplish Pink (247) .14

6RP 7/10 .06 Moderate Pink (5) 1.229RP 7/13 .08 1R 7/3 .62

2R 7/4 .43Deep Purplish Pink (248) .07 6R 8/6 .17

4RP 6/11 .07Dark Pink (6) 1.61

Light Purplish Pink (249) .11 1R 6/6 .239P 8/6 .11 5R 6/6 1.38

Moderate Purplish Pink (250) .22 Pale Pink (7) .084RP 7/6 .06 3R 9/2 .039RP 7/8 .16 3R 9/3 .05

Dark Purplish Pink (251) .04 Grayish Pink (8) .086RP 6/8 .04 2R 7/2 .02

2R 8/3 .06Pale Purplish Pink (252) .15

10P 8/3 .04 Vivid Yellowish Pink (25) .2410P 9/4 .03 7R 7/12 .246RP 9/4 .08

(Continued on next page)

60 IDENTTFICATION OF COLORS FOR BUILDING

APPENDIX D, PART 1 (b to c) (CONTINUED)

ISCC-NBS ColorDesignation, Number &

Munsell Notations

Percentof

TotalSold

ISCC-NBS ColorDesignation, Number, &

Munsell Notations

Percentof

TotalSold

Strong Yellowish Pink (26) .37Grayish Purplish Pink (253) .27 6R 7/8 .37

10P 7/2 .0610P 7/4 .11 Deep Yellowish Pink (27) .296RP 7/4 .10 7R 6/8 .17

Vivid Pink (1) .097R 6/12 .12

2R 7/12 .09 Light Yellowish Pink (28) .14

Strot_lqink (2) .03 8R 9/6 .14R 7/9 .03

Moderate Yellowish Pink (29) .57Deep Pink (3) .92 6R 7/4 .23

2R 6/8 71-3 6R 7/6 .342R 6/10 .214R 6/12 .31 Dark Yellowish Pink (30) .265R 6/9 .27 6R 6/6 .26

Pale Yellowish Pink (31) .133YR 9/2 .13

Grayish Yellowish Pink (32) .167R 7/2 .087R 8/2 .058R 8/2 .03

Brownish Pink (33) .156YR 7/2 .15

APPENDIX D, PART II (c to d)ISCC-NBS Hue Name &

Color DesignationPercent ofTotal Sold

Purplish Pink 1.02brill pPk 02s pPk 14deep pPk 071 pPk 11m pPk 22d pPk 04p pPk 15gy pPk 27

Pink 4.84v Pk 09s Pk 03deep Pk 921 Pk 81m Pk 1 22d Pk 1 61p Pk 08gy Pk 08

Yellowish Pink 2 31v yPk 24s yPk 37deep yPk 291 yPk 14m yPk 57d yPk 26p yPk 13gy yPk 16br Pk 15

APPENDIX 61

APPENDIX D, PART III (d to e)

Color Designation,29 Groups

Percent ofTotal Sold

Color Designation,29 Grou s

Percent ofTotal Sold

(d) (e) (d) (e)

Pink 8.17 Yellow Green 2.16Purplish Pink 1.02Pink 4.84 Green 16.04Yellowish Pink 2.31 Yellowish Green 5.69

Green 3.91Red 4.11 Bluish Green 6.44

Purplish Red 1.01Red 3.10 Blue 8.12

Greenish Blue 2.41Orange 1.14 Blue 4.07

Reddish Orange .87 Purplish Blue 1.64Orange .27

Purple 1.26

Brown 1.92 Violet .54Reddish Brown .52 Purple .17Brown .89 Reddish Purple .55Yellowish Brown .51

White 19.86Yellow 18.14

Orange Yellow 3.01 Gray 1.54

Yellow 8.16Greenish Yellow 6.97 Black 9.52

Olive 8.02 Total 100.00Olive Brown 1.63Olive 3.58Olive Green 2.81

APPENDIX D, PART IV (e)

Color Designation, 13 Groups

PinkRedOrangeBrownYellowOliveYellow greenGreenBluePurpleWhiteGrayBlack

Total

Percent of Total Sold

8.174.111.141.92

18.148.022.16

16.048.121.26

19.861.549.52

100.00


APPENDIX E, PART I (d to e)

ISCC-NBSCohn

Designation

Color Usage asReport 1 by 29

Color-NameGroups

CJor Usage asReported by 13

Color-NameGroups

Average= Total

Total Divided by 2Compaay A

(d) (e)Company B

(e)Pink 8.17 7.11 15.28 7.64

Purplish Pink 1.02 1.02 .51Pink 4.84 4.84 2.42Yellowish Pink 2.31 2.31 1.15

Red 4.11 4.23 8.34 4.17Purplish Red 1.01 1.01 .50Red 3.10 3.10 1.55

Orange 1.14 .98 2.12 1.06Reddish Orange .87 .87 .43Orange .27 .27 .14

Brown 1.92 1.36 3.28 1.64Reddish B:own .52 .52 .26Brown .89 .89 .44Yellowish Brown ,51 .51 .26

Yellow 18.14 14.94 33.08 16.54'.:.2. arge Yellow 3.01 3.01 1.50Yellow 8.16 8.16 4.08Greenish Yellow 6.97 6.97 3.49

Olive 8.02 9.16 17.18 8.59Olive Brown 1.63 1.63 .81Olive 3.58 3.58 1.79Olive Green 2.81 2.81 1.41

Yellow Green 2.16 4.06 6.22 3.11

Green 16.04 20.82 36.86 18.43Yellowish Green 5.69 5.69 2.84Green 3.91 3.91 1.96Bluish Green 6.44 6.44 3.22

Blue 8.12 7.98 16.10 8.05Greenish Blue 2.41 2.41 1.20Blue 4.07 4.07 2.04Purplish Blue 1.64 1.64 .82

Purple 1.26 1.98 3.24 1.62Violet .54 .54 .27Purple .)- .17 .08Reddish Purple .54 .55 .28

White 19.86 16.22 36.08 18.04

Gray 1.54 4.38 5.92 2.96

Black 9.52 6.78 16.30 8.15

Total 100.00 100,00 200.00 100.00

APPENDIX 63

APPENDIX E, PART II (e)

Color Designation, 13 Groupings Percent of Total Sold

Pink 7.64

Red 4.17

Orange 1.06

Brown 1.64

Yellow 16.54

Olive 8.59

Yellow Green 3.11

Green 18.43

Blue 8.02

Purple 1.62

White 18.04

Gray 2.96

B1 ack 8.15

Total 100.00

, Mo.

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